Abstract

Since 2007, Tomás Saraceno has been developing a project that aims to break out of the anthropocentric understanding of communication and coexistence with other animal organisms. In this article, I point out the importance of using modern visualization technologies to analyze and investigate the structure of communication frameworks and their modalities in the animal world, specifically using the example of spiders. The visualization of what is normally invisible to the eye and inaudible to the ear rearticulates the realm of the visible and the audible, which Saraceno then uses for art-critical purposes, with the aim of forming a new type of posthuman attunement to the environment and other animal species. The condition for outlining and articulating Saraceno’s artistic vision is the use of the latest technologies of visualization, which operate on the principle of digital and algorithmic code. They synthesize different planes of affectivity and transform, modulate, and combine the different modes of signs into a single technical-organic complex: they offer new ways of seeing and feeling the world. Thus, hybrid ecology in Saraceno’s case does not imply a return to primordial ways of life, but on the contrary, it forms a semiosphere attuned to a specific plane of consistency that enfolds distinct modes of signs and develops them into an expression of hitherto unsuspected variants of life.