Social distancing has entered our bodies and changed our behaviour. The fight against COVID-19 leaves people with a different feeling of what it means to be together in the flesh. In this article, I will tackle the tension between virtualization of communication, social distancing and the basic human need for bodily contact. Sigmund Freud used the term ‘oceanic feeling’ to express human yearning for becoming one with others and the sense of fluidity of the self. This concept goes beyond basic (...) intercorporeality. It represents experiences in meditation and cultural practices of immersion. Both the maximum intensity of intercorporeal behaviour and the dissolution of the bodily boundaries belong to this experience. The literature in the pandemic covers mainly new rituals and bodily practices of distance but there is not much reflection on what has gone missing and its relation to current and future cultural practices. In this article, I will discuss hedonist embodied rituals like dance, eating and celebrating in public as vital parts of human cultures. Being abolished as contagious sites of infection, their return to the social sphere is, now more than ever, viewed as problematic and potentially subversive in the face of an atmosphere of anxiety. My aim is to argue against cultural tendencies of social control and the emphasis of disembodied virtual forms of togetherness in favour of a posthuman hedonist culture incorporating new technologies and old rituals. (shrink)

AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. (...) The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds. (shrink)

Lo digital descansa en la computación. La programación utiliza algoritmos. Los algoritmos son el conjunto de reglas que resuelven problemas en un número finito de pasos. En este sentido, el mundo digital está regido por cantidades, números, reglas fijas. El grado de libertad parece muy limitado. Por el contrario, la actividad artística y la creatividad descansan en la apertura, la libertad y en experiencias cualitativas. Estas experiencias no solo son vitales para la expresión artística, sino para la vida cotidiana. Los (...) mundos-vitales tecnológicos tal como se representan en tecnologías actuales (por ejemplo, en las casas inteligentes o en la conducción automática) o en la ciencia ficción no parecen dar cabida a estas estructuras abiertas. La filosofía de la tecnología está dividida: muchos sostienen que la tecnología determina en gran medida la cognición humana (como Mark B. N. Hansen, Bernard Stiegle) y, consiguientemente, subordina la cognición humana a las organizaciones maquinales. Otros adoptan una aproximación diferente y reflexionan sobre el potencial creativo de las nuevas tecnologías (Erin Mannig, Jaime del Val). Este artículo discute teorías que abordan la relación humano-máquina en tanto que estructuras complejas que van más allá de la visión distópica del ser humano siendo trascendido o incorporado por la tecnología. Estas aproximaciones son centrales para discutir el futuro del ser humano y la conformación político-cultural de los mundos vitales. Para entender cómo las relaciones humano-máquina pueden considerarse como procesos abiertos y creativos, presento narrativas de cognición corporalizada, ejemplos artísticos de estrategias de performance con sistemas algorítmicos, y finalmente engarzo estos aspectos en un panorama más amplio sobre la conceptualización de la tecnología y la vida humana como un continuo, en vez de una sostenida oposición o un estar determinado por el otro. (shrink)

My aim in this paper is to sketch a picture of how we currently visualize human vs. artificial intelligence. I am going to analyze images depicting the transcendence of the human in recent movies, which I take to be significant for the contemporary conditio humana. I will examine how movies like Her or Transcendence invent and use images of human and artificial life. I will then analyze the images themselves, how they are connected and what underlying ontological assumptions can be (...) found. My main focus will be on the concept of the body and figures of disembodied intelligence. I will argue that disembodied intelligence has become a central topos in contemporary cinema. I will show how these ideas relate to the presentation of technology as a highly complex and dynamic net-structure, comparable to the characteristics of the human brain. (shrink)