Samuel Mateus

Abordando a formação da consciência moderna, este artigo considera a Querela dos Antigos e dos Modernos a partir de duas noções estéticas fundamentais: a imitatio e a aemulatio.O modo como progressivamente se faz o elogio da emulação face à simples imitação corresponde à ultrapassagem do pólo antigo pelo pólo moderno. Enquanto o imitador deseja reproduzir a exactidão do modelo, o emulador esforça-se por dizer melhor. A emulação, proposta pelos Modernos, mostra-se sempre relativizadora e perturbada em relação aos antigos, inquieta por se lhes sobrepor.

It was not until the emergence, in the 19th century, of new technical devices – such as the telegraph and the phonograph – that the term medius came to serve as a collective noun (media) for advanced communication technologies. Although mediation is extensively theorized in philosophy and sociology, and is approached by medium theory and media studies, the concept remains undertheorized in the field of communication theory.By exploring the problem of mediation and by challenging its representationalist and transmissive accounts, this paper posits mediation beyond the medium. It traces mediation as a relational principle which can be best understood as modulation involving inherent translation, inflection and movement. Mediation is not a simple transportation of meaning through a passive intermediary. It is not just something which stands or comes between things otherwise separated or opposed. Mediation is neither a middle-thing linking separate entities, nor do things get mediated: They are already forms of mediation. Mediation is, foremost, a connecting mean that generates modified experiences and relations, a modulating process that re-connects at the moment it separates.

Phenomenology, Sociology, Hermeneutics and Psychoanalysis have accumulated different methods and knowledge on the imaginary. Nevertheless, the crucial connection between the social imagining and communication has not always been truly examined. In this article, we take the imaginary (seen as a symbolic thought of images) and communication (seen as a process of symbolic reproduction) as correlated notions, and work upon a communicational matrix of the imaginary. We emphasize three key elements of the imaginary: by pointing to the verbal-iconic, technical and mediatized dimensions we will be paying special attention to the media imaginary and the effects of its commemorative logic to the propagation of public imaginaries.

The idea of public experience is often invoked in different social and academic contexts. However, it seldom deserved a reflection that specifically sought to deepen its meaning from the point of view of social life. In this article we contribute to the understanding of the uniqueness of the public form of experience. We believe that one of the best ways through which we can observe the public experience is by the objectification, performance and dramatization of the culture, i.e., the “expression of lived experiences”. There is, in publicity, the possibility of simultaneous allocation of individual and collective experiences, and it is in this sense that we can see how culture influences the shaping of experience itself. Public experience is characterized by the weaving and intertwining of singular experiences that are pluralized and plural lived experiences that are singularized, in a process where individual and society interpenetrate. The relationship between experience and publicity arises from this symbolic communion contained in the systems of thought and action of societies. The decisive role of the principle of publicity to experience consists, according with the hypothesis we wish to put forward, in making available and communicating the social world of symbolic activity. Public experience is, then, envisaged as the experience of a common world where both singular and plural definitions of the individual converge through lived experiences and, particularly, through their expression, which can take different symbolic forms.

The intellectual history of Humanity is part of a vast genealogy that stems from disputes between those advocating the excellence of ancient times and those arguing the superiority of the present. Thus, since antiquity we find the persistent recurrence of a Quarrel of the Ancients and the Moderns, virulence that stresses the human and social experience, either praised, either rebuked in its development process. This paper discusses the process of development of the Quarrel of the Ancients and the Moderns as a matrix from which it is possible to perceive, in sparse and seemingly random historical positions, a way that guide us to the path, full of crossings and intersections, of modern experience. Its aim is to define some cardinal points of the Quarrel’s own development that help us to better understand how the idea of “modernity” has evolved.