scholarly journals Tecnologías culturales y economía de la información

Hipertextos ◽  
2021 ◽  
Vol 9 (15) ◽  
pp. 25-45
Author(s):  
Héctor Ariel Feruglio Ortiz
Keyword(s):  
Bernard Stiegler ◽  
Gilbert Simondon

En la actualidad el capitalismo se encuentra en un momento de transformación más que en un periodo de crisis debido a un crecimiento acelerado de la economía de la información. Una transformación edificada sobre la capacidad que las plataformas digitales tienen para modular las potencias de organización económica. Esta administración robotizada del comercio informacional tiene efectos monopólicos que proletarizan la vida, erosionan los saberes y controlan los flujos mercantiles. El objetivo de éste trabajo es realizar algunos aportes conceptuales para una reflexión crítica sobre el capitalismo digital. Proponemos tres perspectivas para organizar el desarrollo del problema: a) la noción de capitalismo de plataformas de Nick Srnicek, b) la noción de capitalismo reticular de Bernard Stiegler, y c) la noción de capitalismo cibernético del colectivo Tiqqun. Por último, intentaremos articular estas perspectivas en el proyecto filosófico de una tecnología cultural propuesto por Gilbert Simondon. Esto nos permitirá elaborar ciertas condiciones propicias para gestionar vías de acción reparadoras u organizadoras en nuestros vínculos tecno-sociales como alternativas a las prácticas alienantes de la economía de la información del capitalismo digital.

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 TRANSINDIVIDUALITY AND POST-LABOR BASED ON SIMONDON AND STIEGLER

2019 ◽  
Vol 60 (143) ◽  
pp. 319-338
Author(s):  
Jae-Hee Kim
Keyword(s):  
Information Technology ◽  
Human Life ◽  
Information Networks ◽  
Human Values ◽  
Philosophical Foundation ◽  
Technical Culture ◽  
Bernard Stiegler ◽  
Post Industrial ◽  
Gilbert Simondon

ABSTRACT This article aims to elucidate a philosophical foundation of a post-labor paradigm through the transindividual technical-psychic-collective culture based on Gilbert Simondon and Bernard Stiegler. Simondon predicts that the problem of the alienation of labor due to mechanical industrialization can be overcome through the spread of post-industrial technical culture based on both technical mentality and information technology (IT). In contrast, Stiegler claims that, along with information networks, hyper-industrialization rather than post-industrialization has arrived and that, in order to recover human values in a machine empire devoid of caring, the strengthening of the ability for non-automation based on automaticity is necessary. However, Simondon’s technical culture beyond labor implies a posthumanistic vision in that it assumes the capacity of technology to mediate between the preindividual and the transindividual beyond technical instrumentalism, which is anthropocentric, and opens up transductive relationships among humans and non-humans. I will argue that Stiegler’s urgent proposal that seeks to save human life from the control of a techno-capital system, such as the reinvention of work transcending employment, must be concretized within the Simondonian posthumanistic project.

Crítica y alternativas a la economía política: la perspectiva de Bernard Stiegler

1969 ◽  
Vol 11 (1-4) ◽  
pp. 78-97
Author(s):  
Sergio Osorio García ◽  
Misael Kuan Bahamón
Keyword(s):  
Bernard Stiegler ◽  
Nueva Granada

Este trabajo intenta esbozar la crítica que realiza el filósofo Bernard Stiegler a la cultura que ha devenido por la sociedad hiperindustrial de la época contemporánea. Stiegler establece una relación necesaria entre el hombre y la técnica que, desde una reflexión filosófica tradicional, ha privilegiado al hombre por encima de la técnica en la constitución de los sujetos. Desde el trabajo que hacemos en el Grupo de investigación de Bioética y Complejidad de la Universidad Militar Nueva Granada, creemos que la bioética debe buscar una sabiduría compleja que nos permita un posicionamiento diferente frente a los conocimientos tecnocientíficos y al neoliberalismo. Esto, de cara a los nuevos retos políticos y ambientales en la era planetaria, que es lo que Stiegler llama sociedad hiperindustrial. Para encontrar luces para pensar una economía política hoy, se abordarán algunos elementos del pen- samiento stigleriano - su mirada a la cultura y a la economía contemporánea- para comprender la individuación de los sujetos, frente a un futuro sostenible que sea posible.

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.

A Pharmacology of Cinema

2021 ◽  
Vol 17 (2) ◽  
pp. 212-227
Author(s):  
Amelie Berger Soraruff
Keyword(s):  
Critical Theory ◽  
Human Mind ◽  
Per Se ◽  
Bernard Stiegler

Abstract French philosopher Bernard Stiegler inscribes himself in the tradition of critical theory. In this respect, the influence of Adorno and Horkheimer has been crucial to the development of his own understanding of cinema. Yet Stiegler reproaches his predecessors for not having stressed enough the positive virtues of cinema on culture. For Stiegler the industry of cinema is not simply a menace to the human mind, but a positive medium for its reinvention. It is in that sense that cinema is pharmacological, insofar as it can be either spiritually and culturally enhancing or destructive, depending on how it is acted on. As the article concludes, Stiegler's pharmacology of cinema invites us to take part in our cinematic cultural becoming through the revival of the figure of the amateur. But it does so at the risk of cultural snobbery. While Stiegler does not condemn the cinematic medium per se, he does express clear reservations on the potential of commercial cinema, the pharmacological critique of which remains to be thought.

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

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