Techno-animism or the magical existence of technical objects = Tecno-animismo ou a existência mágica de objetos técnicos
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Data
2021
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Editora
Lusofona University
Resumo
Se, por um lado, a noção clássica de artefacto pressupõe objetos inertes e uma confiabilidade entre o usuário e os usos que podem ser extraídos dos objetos, por outro lado, reconhece-se a suspeita de que os objectos técnicos e os seus esquemas operatórios, as máquinas e as suas soluções “artificiais”, encerram em si um carácter inautêntico e adulterador, como se de uma potência própria de astúcia e de engano se tratasse, capaz de, no limite, se emancipar e se processar de forma autónoma, independentemente dos usos e das apreensões que os humanos, seus operadores, possam fazer. O imaginário ocidental da técnica ter-se-á assim constituído sob pressupostos que, a par das leis formais da mecânica ou da matematicidade fria que governa qualquer gramática de códigos, projectaram uma dimensão mágica e especulativa naquilo que de artificial permite manipular a produtividade original da natureza. Com o surgimento das tecnologias digitais e a informatização geral dos artefactos, essa dimensão adquiriu forma naquilo que Philip K. Dick considerou a tendência do tecno-animismo e que, mais tarde, seria materialmente concretizada pela computação ubíqua e pela internet das coisas na era do chamado capitalismo cognitivo. Neste artigo, procuramos abordar o tecno-animismo como uma estética especulativa que, ao projectar uma vida própria nos objectos técnicos, lhes inscreve uma alteridade e uma estranheza que potencia perspectivas para além dos usos e relações habituais que se dão por garantidas e que escondem os objectos, assim como para além das estratégias políticas ou comerciais que os mobilizam. Encantar objetos técnicos é, por um lado, criar uma possibilidade para os suspender dos seus fluxos instrumentais e, por outro, instalar um realismo mágico ou problemático que perturba as articulações de uma realidade mera e exclusivamente humana.
If, on the one hand, the classic notion of artefact presupposes inert objects and a reliability between the user and the uses that can be extracted from the objects, on the other hand, it is recognized a suspicion that technical objects and their operative schemes, the machines and the “artificial” solutions contain in themselves an inauthentic and adulterating nature, a power of cunning and trickery capable of emancipate and process in autonomous forms, regardless of the uses and apprehensions that humans, their operators, may make. The western imaginary of technics would thus have been constituted under presuppositions that, together with the formal laws of mechanics or the cold mathematics that governs any grammar of codes, projected a animistic and a magical dimension in all the artificiality that allowed to manipulate the original productivity of nature. With the emergence of digital technologies and the general informatization of artefacts, this dimension took shape in what Philip K. Dick would consider to be a techno-animism tendency and that ubiquitous computing and internet of things would materialize in the era of so-called cognitive capitalism. In this paper, we seek to approach techno-animism as a speculative aesthetics that, by projecting a life into technical objects, inscribes in them an alterity and a strangeness that could enhance other perspectives beyond the usual uses and relationships that we take for granted and that hide objects, as well as the political or commercial strategies that mobilize them. Enchanting technical objects is, on the one hand, creating a possibility to suspend them from their instrumental flows and, on the other, installing a weird or magical realism that disturbs the articulations of a mere and exclusively human reality.
If, on the one hand, the classic notion of artefact presupposes inert objects and a reliability between the user and the uses that can be extracted from the objects, on the other hand, it is recognized a suspicion that technical objects and their operative schemes, the machines and the “artificial” solutions contain in themselves an inauthentic and adulterating nature, a power of cunning and trickery capable of emancipate and process in autonomous forms, regardless of the uses and apprehensions that humans, their operators, may make. The western imaginary of technics would thus have been constituted under presuppositions that, together with the formal laws of mechanics or the cold mathematics that governs any grammar of codes, projected a animistic and a magical dimension in all the artificiality that allowed to manipulate the original productivity of nature. With the emergence of digital technologies and the general informatization of artefacts, this dimension took shape in what Philip K. Dick would consider to be a techno-animism tendency and that ubiquitous computing and internet of things would materialize in the era of so-called cognitive capitalism. In this paper, we seek to approach techno-animism as a speculative aesthetics that, by projecting a life into technical objects, inscribes in them an alterity and a strangeness that could enhance other perspectives beyond the usual uses and relationships that we take for granted and that hide objects, as well as the political or commercial strategies that mobilize them. Enchanting technical objects is, on the one hand, creating a possibility to suspend them from their instrumental flows and, on the other, installing a weird or magical realism that disturbs the articulations of a mere and exclusively human reality.
Descrição
International journal of film and media arts
Palavras-chave
COMUNICAÇÃO, TECNOLOGIA, ANIMISMO, ESTÉTICA, COMMUNICATION, TECHNOLOGY, ANIMISM, AESTHETICS
Citação
Fernandes , M L B D R 2021 , ' Techno-animism or the magical existence of technical objects = Tecno-animismo ou a existência mágica de objetos técnicos ' , International Journal of Film and Media Arts .