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WojciechBaluch
Częśćpierwsza:Mediatyzacjedoświadczeń
DisembodiedExperience
NewDimensionsofDramatizationintheWorldofNewMedia
Summary
Thepaperisdevotedtoissuesconcerningtherelationshipbetweentransformationsindeal‑
ingswiththerealworldandchangesintechnologyoverthelastdecades.Thestudyhasbeen
dividedintotwoparts.Thefirstonepresentsaseriesoftheoreticaldiscussionsinwhichtheauthor
ofthearticleadducesM.Heidegger,M.McLuhan,D.Davidson,R.Nycz.Theauthor’spointof
departureistheassumptionthatnewinventionsalterthewayweexperiencetherealworldnot
onlyduetothewaytheymediatebetweenourbodyandtheworldsurroundingit;itisratherdue
tothealterationofwaysofourbeingintheworld.Reflectionsonchosenconceptsofcognition,
waysofexperiencingtherealworldaswellasthenatureofthemediaamplifiedbytheaforemen‑
tionedresearchers,providealineofthoughtwhichallowsformakingconnectionsbetweenthe
changesinourwaysofperceivingtherealworld(whichtakeplaceduetotechnologicaldevelop‑
ment)andwaysofthinkingandlinguisticexpression.
Thethesisformulatedonthebasisoftheoreticalconsiderationsinthesecondpartisillus‑
tratedwithfourexamplesdrawnfromdramatictexts.Atthesametimethepicturedepicting
linksbetweenone’sexperienceoftherealworld,technologicaladvancesandsymbolicexpression,
hasbeenenrichedwithaspectswhichbecomeconspicuouswithintheperspectiveofhistorical
changesofestheticformsaswellasthereceptionoftheanalyzedtexts.
TheanalysisofKrapp!sLastTapebyS.Becketshowsthefunctionofvariousmediadevices
intextdialogizationaswellasthephysicaldimensionoftheencounterwiththepresentedworld.
M.McDonagh’sfilm,producednearlyfifyyearsaferBecket’sdramahadbeenwriten,allows
forperceptionofwaysinwhichtheemergenceofplenteousdiscourses—whichbytheendofthe
1990sbeganreachingtherecipientsbywayofthedynamicadvancesinthemedia—pavedtheway
fortheweakeningofadialogiccharacterofvariousdiscursiveforms.
Thesubsequentfilmsanalyzedinthepaperhaveoriginatedinthe21stcentury.Thefirstone,
TheMatrixbytheWachowskibrothers,makesusseeinwhatwayatransmediastory,accountedby
H.Jenkins,representsavaluablecontributiontotheprocessofinterweaving(theblurring)ofcom‑
putergamesplayer’sindividualexperiencewiththecollectiveexperienceoftheaudiencewatch‑
ingthemovie.TheconclusionisprovidedintheanalysisoftheSuicideRoom,producedin2011by
J.Komasa,whereonecomestorealizethatrealexperienceisnotbasedonthehighertechnological
advancement,butonthesummoningofanactivesystemofvaluesoftherecipient.Thus,theepis‑
temologicalcriterionisreplacedwiththeaxiologicalone.
Theconclusionofthetheoreticalconsiderationsaswellasoftheprovidedanalysesliesinthe
thesisonthephenomenonofthedisembodiedexperiencewhichhasbecomerecognizableatthe
turnofthecentury,andistheextensionofthenewmediaadvancement.
