scholarly journals As máquinas e seus batimentos vitais: por um cinema lato sensu

2021 ◽  
Vol 48 (56) ◽  
pp. 76-94
Author(s):  
Andréa C. Scansani
Keyword(s):  
Gilbert Simondon

A partir das leituras que Arlindo Machado faz de Gilbert Simondon, ainda nos anos de 1990, revisitamos este autor para explorar seu pensamento sobre a imaginação, a invenção e a complexa rede de relações entre máquinas e humanos, numa reflexão sobre a prática da fotografia cinematográfica e suas imagens.

scholarly journals Penser la décroissance avec Gilbert Simondon

Dialogue ◽  
2021 ◽  
pp. 1-16
Author(s):  
Jamil Alioui
Keyword(s):  
Progrès Technique ◽  
Nous Montrons ◽  
Gilbert Simondon

Résumé Dans cet article, nous étudions l'axiologie des techniques des discours écologistes de la décroissance à l'aune de celle du philosophe français Gilbert Simondon. Cette articulation fertile permet de montrer, premièrement, que les discours de la décroissance n’évaluent les techniques qu’à partir de leurs usages ; deuxièmement, elle explique pourquoi une telle axiologie, praxéologique plutôt que technologique, est incapable d'influer sur le progrès technique. À partir de Simondon, nous montrons notamment que la pensée de la décroissance ignore la distinction entre information et énergie au sein des réalités techniques, distinction pourtant nécessaire si l'on souhaite relier l’étude des techniques et l’écologie de façon adéquate et constructive.

Thinking technology for the Anthropocene: encountering 3D printing through the philosophy of Gilbert Simondon

2017 ◽  
Vol 24 (4) ◽  
pp. 539-554 ◽  
Author(s):  
Tom Roberts
Keyword(s):  
3D Printing ◽  
Human Beings ◽  
Anthropogenic Change ◽  
Technological Processes ◽  
The Earth ◽  
The Social ◽  
Human Thinking ◽  
The Moment ◽  
Gilbert Simondon ◽  
Do So

The notion that the Earth has entered a new epoch characterized by the ubiquity of anthropogenic change presents the social sciences with something of a paradox, namely, that the point at which we recognize our species to be a geologic force is also the moment where our assumed metaphysical privilege becomes untenable. Cultural geography continues to navigate this paradox in conceptually innovative ways through its engagements with materialist philosophies, more-than-human thinking and experimental modes of ontological enquiry. Drawing upon the philosophy of Gilbert Simondon, this article contributes to these timely debates by articulating the paradox of the Anthropocene in relation to technological processes. Simondon’s philosophy precedes the identification of the Anthropocene epoch by a number of decades, yet his insistence upon situating technology within an immanent field of material processes resonates with contemporary geographical concerns in a number of important ways. More specifically, Simondon’s conceptual vocabulary provides a means of framing our entanglements with technological processes without assuming a metaphysical distinction between human beings and the forces of nature. In this article, I show how Simondon’s concepts of individuation and transduction intersect with this technological problematic through his far-reaching critique of the ‘hylomorphic’ distinction between matter and form. Inspired by Simondon’s original account of the genesis of a clay brick, the article unfolds these conceptual challenges through two contrasting empirical encounters with 3D printing technologies. In doing so, my intention is to lend an affective consistency to Simondon’s problematic, and to do so in a way that captures the kinds of material mutations expressive of a particular technological moment.

Art as Information Ecology

2021 ◽  
Author(s):  
Jason A. Hoelscher
Keyword(s):  
Information Theory ◽  
Aesthetic Experience ◽  
American Art ◽  
Aesthetic Theory ◽  
Information Ecology ◽  
Robert Morris ◽  
New Information ◽  
Theory Of Information ◽  
Gilbert Simondon

In Art as Information Ecology, Jason A. Hoelscher offers not only an information theory of art but an aesthetic theory of information. Applying close readings of the information theories of Claude Shannon and Gilbert Simondon to 1960s American art, Hoelscher proposes that art is information in its aesthetic or indeterminate mode—information oriented less toward answers and resolvability than toward questions, irresolvability, and sustained difference. These irresolvable differences, Hoelscher demonstrates, fuel the richness of aesthetic experience by which viewers glean new information and insight from each encounter with an artwork. In this way, art constitutes information that remains in formation---a difference that makes a difference that keeps on differencing. Considering the works of Frank Stella, Robert Morris, Adrian Piper, the Drop City commune, Eva Hesse, and others, Hoelscher finds that art exists within an information ecology of complex feedback between artwork and artworld that is driven by the unfolding of difference. By charting how information in its aesthetic mode can exist beyond today's strictly quantifiable and monetizable forms, Hoelscher reconceives our understanding of how artworks work and how information operates.

Parody in the Film Viewed through the Theory of Individuation: The Shining in Ready Player One

2019 ◽  
Vol 39 ◽  
pp. 66-94
Author(s):  
Kwangtaek Park ◽  
Sangjoon Bae
Keyword(s):  
Potential Energy ◽  
Semantic Network ◽  
The Other ◽  
Digital Culture ◽  
Original Text ◽  
Generation Process ◽  
Technical Object ◽  
New Meanings ◽  
Long Time ◽  
Gilbert Simondon

Parody which used as the way of creating for a long time has stood out by the spread of postmodernism. Parody that is defined as ‘repetition that includes difference’ by Linda Hutcheon structure the new semantic network in the process of transforming the original text. This paper focuses on the generation process of parody from the perspective of Gilbert Simondon, the theory of individuation. Likewise, technics and technical object, also the elements of culture have potential energy causing the transduction to the other individual, and individuation is occurred to form the new meanings. That is, parody is the phenomenon of individuation between the contents that have potential energy inside. Parody is animatedly applicated in the part of visual culture due to the progress of the digital culture. Especially film which is the interface between the technology, the industry, and the art, can be said as the advanced guard of parody aesthetics. After the 1970s, parody applied to begin in earnest in film produce abundant meaning in the network between film connecting the numerous work. One of the node of the film, <Ready Player One>(2018) tried parody covering the entire popular culture not only film but also game and so on. In that, <The Shining>(1980) is recontextualized of high importance. In the <The Shining> in the <Ready Player One>, value-neutral parody with no satirical or respectful intent unfolds icon or settings such as typewriter, anniversary picture, maze, and the banquet room. In this progress, after the fundamental elements in the adventure genre are taken the information of the original text, the internal potential energy form the parody. On the other hand, a filmic element such as a film texture rendering and steadycam commemorate the film historical position of the original, at the same time, those are represented in homage parody varied the meaning. Like the aforesaid parody, this brings about the process of individuation, as well as the nostalgia, which leads to trans-contextualization

Flows of Inhomogeneous Matter: Improvising an augmented violin

2021 ◽  
Vol 26 (1) ◽  
pp. 65-77
Author(s):  
Seth Dominicus Thorn
Keyword(s):  
Digital Signal ◽  
Musical Instruments ◽  
Felix Guattari ◽  
Trial And Error ◽  
Model Free ◽  
Action And Perception ◽  
Latent Potential ◽  
Synergistic Relationships ◽  
Gilbert Simondon ◽  
Mode Of Production

This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.

scholarly journals Gilbert Simondon e uma filosofia biológica da técnica

2015 ◽  
Vol 13 (2) ◽  
pp. 307-334 ◽  
Author(s):  
Wendell Evangelista Soares Lopes
Keyword(s):  
Gilbert Simondon

The pirarucu net: Artefact, animism and the technical object

2018 ◽  
Vol 24 (2) ◽  
pp. 176-193 ◽  
Author(s):  
Carlos Emanuel Sautchuk
Keyword(s):  
Technical Object ◽  
Anthropological Approach ◽  
Gilbert Simondon ◽  
Modes Of Existence ◽  
Amazonian Lake ◽  
The Way

This article explores the decision of a group of Amazonian lake fishermen to ban the use of nets to catch the pirarucu fish as part of an official agreement. It discusses the approach to artefacts found in the agentive turn and in recent explorations of Amazonian animism in Anthropology. It adopts the concept of technical object influenced by the anthropological approach to technology and in line with the ontogenetic perspective of Gilbert Simondon. The main focus is the way in which the fishermen compare the different modes of existence of the harpoon and the net. For them, the pirarucu net is a poor way to catch fish since it captures by itself, which is a form of cowardice in relation to the fish and drives them away. The ethnography centres on the operation of these objects and the way in which different properties of the fishermen and fish emerge through these processes.

scholarly journals Bernard Stiegler, pensador do humano e da tecnologia

DoisPontos ◽  
2015 ◽  
Vol 12 (1) ◽  
Author(s):  
Moysés Pinto Neto
Keyword(s):  
Jacques Derrida ◽  
Gilles Deleuze ◽  
Philosophical Tradition ◽  
General Introduction ◽  
Bernard Stiegler ◽  
Gilbert Simondon

resumo: Este artigo é uma introdução geral ao pensamento de Bernard Stiegler em torno da relação entre técnica e humano. Stiegler desconstroi a tradição filosófica que costumava separar technê e episteme com um enfoque histórico e materialista, a fim de provar como é impossível pensar a humanidade sem a técnica. Portanto, a relação não é de oposição, como a tradicional metafísica do espírito defende, mas composição, do modo como defendem Gilbert Simondon, Jacques Derrida, Andre Leroi-Gourhan e Gilles Deleuze.abstract: This paper is a general introduction to Bernard Stiegler's thinking about the relation between technique and human. Stiegler deconstructs the philosophical tradition that used to separate teckhnê and episteme with a historical and materialist approach in order to prove how it is impossible to think humanity without technique. Therefore, the relation is not one of opposition, like the traditional metaphysics of spirit defends, but one of composition, as thinkers like Gilbert Simondon, Jacques Derrida, Andre Leroi-Gourhan and Gilles Deleuze defend.

scholarly journals Individuação, percepção, ambiente: Merleau-Ponty e Gilbert Simondon

2009 ◽  
Vol 25 (3) ◽  
pp. 265-281 ◽  
Author(s):  
Andréia A. Marin ◽  
André Pietsch Lima
Keyword(s):  
Gilbert Simondon

Este trabalho trata da individuação e da percepção a partir de duas filosofias contemporâneas: os fundamentos fenomenológicos da percepção (Merleau-Ponty) e as relações entre percepção e individuação (Gilbert Simondon). Essas duas composições teóricas podem criar outros espaços de reflexão para as pesquisas em percepção ambiental. A percepção primordial, a importância da corporeidade como redescoberta do mundo vivido e a experiência estética que instaura os espaços de criação nas artes são categorias merleau-pontianas que permitem redimensionar os significados da relação humano-ambiente. O "diálogo" entre essas experiências de criação (discutidas por Merleau-Ponty) e os processos de individuação da/com a percepção (Simondon) pode suscitar novas abordagens de partida para estudos em percepção ambiental, inspirando novas possibilidades no domínio da Educação Ambiental.

scholarly journals Cleodon Silva e a Casa dos Meninos: mecanologia, do reco-reco à internet

2014 ◽  
Vol 6 (3) ◽  
pp. 260-300
Author(s):  
Guilherme Flynn Paciornik ◽  
Pedro Peixoto Ferreira
Keyword(s):  
Gilbert Simondon

Este texto busca narrar o encontro feliz das trajetórias do ativista Cleodon Silva e da instituição Casa dos Meninos, e como esse encontro pode nos ajudar a repensar o papel daquilo que Gilbert Simondon chamou de “mecanólogo” ou “tecnólogo”: aquele que estuda os indivíduos técnicos completos, que introduz na cultura “a consciência da natureza das máquinas, de suas relações mútuas e de suas relações com o homem, e dos valores implicados nestas relações”.

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