Although proposed almost 15 years ago, Bolter and Grusin's thoughts on mediation and remediation have aged like a fine wine, becoming even more relevant, timely, and applicable. As digital immersion in culture continues to proliferate, Bolter and Grusin's concepts of mediation and remediation are an everyday reality. Mediation has its own bodily presence in reality, and although the desire for reform that remediation arouses must be approached with caution, virtually everything we know is corrected. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essayMediation is both a process and a product. The process of mediation is the particular manner or interpretive device that one uses to form a point of view about the object being mediated. All forms of media are created through the process of mediation. The reality of mediation is therefore unavoidable. A photograph is a physically real medium, and given that it is a product of mediation, the mediation itself is also physically real by extension. Although an engaging cerebral exercise, the truly fascinating conception of mediation and reality comes in the discussion of "the colonization of... the space... between a photographer or videographer and the object of [their] mediating technology” (59). If one sees someone recording sound or audio in public, unless one is exceptionally rude, one does one's best to consciously avoid spoiling one's mediation. The very act of mediation itself has become an object that, while not literally tangible, is revered, respected, and interacted with. However, Boltin and Grusin's belief that mediations “are real as artifacts (but not as autonomous agents)” (55) is less set in stone. Although a product of mediation itself cannot be truly autonomous, as it is inevitably a representation, due to the autonomy of the physical process of mediation and the one who facilitates it, there is a more authentic sense of reality in mediation than Boltin and Grusin. give him credit immediately. Although remedial measures are useful in terms of reform capacity, society should have some sense of distrust regarding the constant presence of remedial measures in society. In the modern era, “the hypothesis of reform is so strong that a new medium is now expected to justify itself by improving its predecessor” (59). Although in some areas such as computers and mobile phones this is proving beneficial and effective, one only needs to look at the ever-increasing number of complaints about the “uncanny valley” to find an alternative narrative. “New technologies of representation proceed by reforming or remediating old ones” (61), but it would seem that in some contexts the pursuit of reform and remediation is deplorable. In the specific case of "the uncanny valley", robotics and 3D computer animation have advanced to the point where human features have an appearance and way of moving that is just short of human reality, causing an extreme feeling of repulsion among the spectators. While it was previously discussed that mediation and reality are inseparable and that mediation has a corporeal presence in modern reality, the strategy of "improving the 'flawed' conception of ordinary reality" (61) pursued by Fields such as robotics are, frankly, pretty scary. Why is reality?