Despite being proposed almost 15 years ago, Bolter and Grusin's reflections on mediation and repair have aged like a fine wine, becoming even more relevant, current and applicable. As the digital immersion of culture continues to proliferate, Bolter and Grusin's concepts of mediation and repair are an everyday reality. Mediation has a corporeal presence in reality, and although the desire for reform that remediation possesses must be approached with caution, virtually everything we know is remedied. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Mediation is both a process and a product. The mediation process is the particular way or interpretive device used to form a point of view about the mediated object. All forms of media are created through the process of mediation. Therefore, the reality of mediation is unavoidable. A photograph is a physically real medium and, considering that it is a product of mediation, the mediation itself is also physically real by extension. While this is an engaging cerebral exercise, the truly fascinating conception of mediation and reality emerges in the discussion of “the colonization of… space… between a photographer or videographer and the object of [their] mediating technology” ( 59). If you see someone recording sounds or audio in public, unless you are being exceptionally rude, you will do your best to consciously avoid ruining your mediation. The act of mediation itself has become an object that, if 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 mediation product itself cannot be truly autonomous, as it is inevitably a representation, due to the autonomy of the physical process of mediation and who facilitates it, there is a more genuine sense of reality in mediation than Boltin and Grusin give him credit immediately. Although repair is valuable in terms of its ability to reform, society should have a certain sense of caution towards the consistent presence of repair in society. In the modern age, "the hypothesis of reform is so strong that a new means is expected to justify itself by improving on the previous one" (59). While in some fields, such as computers and cell phones, this is beneficial and effective, one need look no further than the ever-increasing amount of “Uncanny Valley” complaints to find an alternative narrative. “New technologies of representation proceed by reforming or repairing previous ones” (61), but it would seem that in certain contexts the continuation of reform and repair is deplorable. In the specific case of the “Uncanny Valley,” robotics and 3D computer animation have advanced to the point where human characteristics have an appearance and manner of movement that is just short of human reality, causing an extreme sense of revulsion in its spectators. While it has been discussed previously that mediation and reality are inseparable and that mediation has a corporeal presence in modern reality, the strategy of "improving "imperfect" design in ordinary reality" (61) pursued by fields such as robotics is frankly, pretty scary. Why is reality considered “imperfect”? We have no other conception of reality to compare it with. Reality is reality; a repaired reality that resolves the “flaws” sounds more and more like an attempt to create a castrated and utopian society. While «the?