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Taking their cue from Bruno Latour’s 'We Have Never Been Modern,' Bolter and Richard A. Grusin have recently argued for the notion of a “genealogy of media” that situates new digital media in the long history of mediated and “remediated” representation in Western art and literature. (Bolter 1999, 57) While they do not deny that the “digital revolution” is a significant addition to this genealogy, they take pains to oppose the insistence “that there is something special about the mediatization of our current culture” placing unprecedented pressure on the reality of the subject. (ibid)