MEDIA AS LIFE WORLD(pART1)

I. MEDIA AS AUTOBIOGRAPHY

When speaking or writing about media we still tend to think in terms of channels to which sender and receiver are connected, a temptingly simple but inadequate definition. Current media theory proposes the "Gutenberg Galaxy" has run its course,that the electronic media itself has become the "message" and its forms are to be understood as "extensions of man"¹ Following Marshall McLuhan and considering the stunning developments of the "new media" theorists such as Neil Postman, media is analyzed not only as a metaphor and representation of knowledge, but as an activity, one shaping our social envoirment and subject to media ecology.² This shift in understanding necessitates a fundamental change in our relation to media, and in our thinking. Yet although the distinctions between reality and imagination, truth and fantasy seem to vanish, and the acceptance of media as an authentic lifeworld the next step, media theory is still reluctant to face this consequence. Signification, representation, the ideology of an independent reality as the measure of truth — these are compelling and long-held presuppositions not easily cast aside.

A phenomenological view, however, allows us to skip over the question of whether the world of new media is real or not and instead describe how the new media shows itself to us. We then become aware of the seductive intensity, the speedy flow, and the open audio-visual textuality with which music videos, for example, "blur previously distinct separations and boundaries, such as those between popular and avant©garde art, between different genres and artistic modes, between past,present and future".³ Artistic media have long been considered as possessing a reality of their own, and the artist's work is often viewed as autobiography. In the new media of cinema⁴ the trend toward self-potrayal is perhaps most obvious. Phenomenologically, such 'writing' of one's life in media reveals its structure as an in-between which is neither subjective nor objective. It fulfills an intentionality which transforms 'objective' material and 'subjective' goals into a living process. A lifeworld is commonly "lived through"⁵ silently, the need to acknowledge is largely unfelt; in the case of mass media however only we can be held responsible for its superficiality. The model of nature with its self-evident presence is replaced by the model of technology which has to constantly give evidence and defend its presence anew.

In the technological age we can not simply live our lives, we have to write — and rewrite — them, or others will do it for us. Having been changed into this autobiographical 'writing', communication can now be defined as authentic, as a responsible style of media. The difference between the "life lived through" and the world of media is still a sharp one in terms of perception, as Maurice Merleau-Ponty indicates,⁶ but is an abstraction in terms of intersubjectivity as the basis of communication. In a lifeworld shaped by technology we consider as humane that for which we as artificial beings can and must take reponsibility.⁷ That society and mass media usually live our lives for us is entirely our own fault and not due to any flaw in the structure of these modes of our existence. We are, by nature, the artificial ones; rejecting our artificiality for a more 'natural' mode of being is a naive denial of our potential as well. Consequently our search need be for the authentic mode of artificiality. The artificial lifeworld created by us in the new media is of itself a fulfillment of humanness — a frightening outlook if one regards American prime time televesion as an example.

II. MUSIC VIDEOS: FROM YOUTH CULTURE TO ARTIFICIAL LIFE

McLuhan's pragmatic children use music videos as their "own comfy space" and as a "radio station for the eyes",⁸ enjoying the pleasure and magic of their youth culture. With the start of 24™hour cable MTV in 1981, music videos became the life style of an entire generation. Dweezil Zapa, the gifted son of a famous father "watches hours of MTV every day",⁹ and he is neither uneducated nor unemployed. MTV alone plays 75-110 clips a week, each with a life span of 9-18 weeks; other channels (Black entertainment Television, to name just one) add to this number. Performers like Michael Jackson and Madonna have attained a personal iconographic power apparent on any street.

In the eyes of one shocked admirer of Plato, the "ambition" of these young people seems to be "to win fame and wealth in imitating the drag queen who makes the music". Professor Bloom denounces music videos for turning life into " a nonstop, comercially prepackaged, masturbational fantasy".¹⁰ And Kuan Hsing Chan, an observer even more knowledgeable in video culture shows deep concern when he writes: "If ecstasy of communication, fascination, desire, schizophrenic corruption of temporality and spatiality, obscenity (of sexuality), collage, quotation, fragmentation and non-unity are the key terms to describe MTV, then we have moved from the question of 'what does it mean' to 'what does it do?'"¹¹

Since music videos are at the core of todays youth culture, such harsh reaction to their seeming corruptive influence is predictable. Every youth culture antagonizes mainstream culture, criticizes the parent generation, and develops its own language and gestures, invents its own style and idols. Undeterred by the intended shock effect of the new and unfamiliar, by the strangeness of certain appearances, a phenomenological approach will continue asking how the phenomenon of music videos shows itself to us, as long as it remains unknown. It should be noted that music videos are appreciated outside the youth culture as well. Station VH-1, for instance, is geared specifically to adult audience. Music television is one of the few media hybrids interactively using other telecommunications media and live events for two-way communication in order to spark imagination and interest of its viewers. These channels are continually re-evaluating and re-defining themselves, and in so doing retain the vitality of the avant-garde.