{"id":25842,"date":"2019-04-15T06:00:31","date_gmt":"2019-04-15T05:00:31","guid":{"rendered":"http:\/\/a-desk.org\/?p=25842"},"modified":"2019-04-19T11:34:10","modified_gmt":"2019-04-19T10:34:10","slug":"fromdigitalpolarization","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/fromdigitalpolarization\/","title":{"rendered":"De la polaritzaci\u00f3 digital a l&#8217;antagonisme post-digital.   De qu\u00e8 anava la 6a edici\u00f3 de la Biennal d&#8217;Atenes?"},"content":{"rendered":"<p><strong>Polaritzaci\u00f3 <em>versus\u00a0<\/em>antagonisme<\/strong><\/p>\n<p>La polaritzaci\u00f3 i l&#8217;antagonisme s\u00f3n, en realitat, forces socialment innovadores. No obstant aix\u00f2, potser t\u00e9 algun sentit resistir la fusi\u00f3 dels seus llegats. Segons les opinions informades d&#8217;Ernesto Laclau i Chantal Mouffe,<sup>1\u00a0<\/sup>l&#8217;antagonisme \u00e9s l&#8217;horitz\u00f3 ontol\u00f2gic social, mentre que la polaritzaci\u00f3 pertany a una mecanitzaci\u00f3 conductista i cibern\u00e8tica de les relacions socials: per exemple, la l\u00f2gica que informa el discurs sobre les tecnologies del n\u00favol, els protocols, els algorismes i la intel\u00b7lig\u00e8ncia artificial. Sovint, l&#8217;auge de la comunicaci\u00f3 digital i la tecnoan\u00e0lisi creixent passen per alt la manera en qu\u00e8 els conflictes de la nostra \u00e8poca han mantingut la cont\u00ednua digital reprogramaci\u00f3 digital dels<em>media<\/em>, ratllant aquestes lluites de tardanes i gaireb\u00e9 obsoletes. La \u00abd\u00e8cada de la crisi\u00bb grega\u00a0 (2008-2018) ressalta aquest\u00a0<em>pas de deux\u00a0<\/em>entre l&#8217;antagonisme sociopol\u00edtic i la reprogramaci\u00f3 de les interf\u00edcies de comunicaci\u00f3 digital: un bucle innegable entre el conflicte pol\u00edtic i els mitjans digitals, reminiscent de la pr\u00f2pia modelaci\u00f3 d&#8217;Internet despr\u00e9s de les motivacions secretes de la ciberguerra lliurada pels Estats Units.<\/p>\n<p><strong>L&#8217;altra cara inc\u00f2moda del virtual<\/strong><\/p>\n<p>ANTI, la 6a Biennal d&#8217;Atenes, es va proposar fomentar l&#8217;antagonisme en lloc de suavitzar-lo. El t\u00edtol celebrava la mercantilitzaci\u00f3 subjacent del prefix ANTI en la cultura (digital) de masses. La seva banalitat autoreferencial exasperava a molts, en particular a la freda labor del <em>branding<\/em>. La gr\u00e0fica ANTI havia estat desenvolupada en part per Metahaven, un estudi de disseny estrat\u00e8gic basat a Amsterdam que opera en els sectors m\u00e9s capdavanters de la comunicaci\u00f3, l&#8217;est\u00e8tica i la pol\u00edtica. L&#8217;elecci\u00f3 de localitzacions sigil\u00b7loses com a seus per a la biennal \u2013com les oficines centrals abandonades de l&#8217;empresa p\u00fablica de telecomunicacions, o les sales de ball d&#8217;un hotel saquejat a Atenes\u2013 tenia per prop\u00f2sit estudiar la manera en qu\u00e8 les activitats en l\u00ednia produeixen un impacte material sobre estructures f\u00edsiques, persones i relacions. El fet de decidir sobre aquest tipus d&#8217;espais va suposar una sobtada inversi\u00f3 de temporalitats i materialitats segmentades,\u00a0 o un efecte de \u00abretorn al futur\u00bb.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/LFP9hgrUcwY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>Algunes de les participacions m\u00e9s discutides en la sisena edici\u00f3 de la Biennal d&#8217;Atenes q\u00fcestionaven les din\u00e0miques irregulars entre la creaci\u00f3 digital d&#8217;imatges i el desig f\u00edsic, corporal: la pel\u00b7l\u00edcula de Daniel Keller i Jacob Hurwitz-Goodman que documenta l&#8217;activitat del laboratori d&#8217;idees The Seasteading Institute respecte al seu projecte d&#8217;illes flotants a la Polin\u00e8sia Francesa, en realitat explora el neoprimitivisme de les elits empresarials. A la pel\u00b7l\u00edcula, les estructures artificials flotants dissenyades pels Seasteaders es visualitzen gr\u00e0cies a espectaculars models 3D presentats als \u00abnadius\u00bb com a potencials etno-futurs.<\/p>\n<p><img decoding=\"async\" width=\"670\" height=\"376\" class=\"alignnone size-full wp-image-25738\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/1.The-Seasteaders-plan-b-e1553793537522.png\" alt=\"\" \/><\/p>\n<p>The Seasteaders. Plan b.<\/p>\n<p>Una altra participaci\u00f3 pol\u00e8mica va ser el cas (gaireb\u00e9 totalment an\u00e0leg) de Front Deutscher \u00c4pfel, un grup d&#8217;antifeixistes alemanys que des de 2004 havia adoptat la <em>gestalt <\/em>dels partits extremistes d&#8217;ultradreta del seu pa\u00eds per a satiritzar i combatre l&#8217;enemic. El grup va organitzar un taller amb participants locals, centrat en com q\u00fcestionar el paper dels\u00a0<em>realities <\/em>televisius locals en la normalitzaci\u00f3 del nacionalisme. En un exercici de superioritat humanit\u00e0ria, uns quants periodistes internacionals, defensors de la sinceritat art\u00edstica, van intentar demonitzar la participaci\u00f3 del Front, alertant l&#8217;audi\u00e8ncia internacional sobre la imminent contaminaci\u00f3 feixista de les visites locals i internacionals a trav\u00e9s de trobades amb el Front, vestits de negre, amb bra\u00e7alets vermells i estendards estampats amb una poma!<\/p>\n<p><img decoding=\"async\" width=\"760\" height=\"507\" class=\"alignnone size-full wp-image-25741\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/2.Front-Deutscher-\u00c4pfel_ph-Nysos-Vasilopoulos-e1553793602257.jpg\" alt=\"\" \/><\/p>\n<p>Front Deutscher \u00c4pfel (Photo Nysos Vasilopoulos)<\/p>\n<p><strong>L&#8217;antagonisme com la dislocaci\u00f3 de l&#8217;arquitectura digital\/anal\u00f2gica<\/strong><\/p>\n<p>L&#8217;afirmaci\u00f3 que la confusi\u00f3 post-veritat i les identificacions err\u00f2nies reforcen encara m\u00e9s la militaritzaci\u00f3 de l&#8217;esfera digital \u00e9s un t\u00f2pic cripto-conductista o una evitaci\u00f3 de les potencialitats antagonistes de l&#8217;art. Aix\u00ed mateix, les pr\u00e0ctiques art\u00edstiques i curatoriales poden reinventar l&#8217;abast institucional de l&#8217;atenci\u00f3 tacant el <em>continuum\u00a0<\/em>digital. No em refereixo nom\u00e9s a l&#8217;espai digital, sin\u00f3 m\u00e9s aviat a l&#8217;equival\u00e8ncia hegem\u00f2nica entre megaestructuras digitals, plataformes, xarxes, individus i entitats f\u00edsiques i nacionals.<\/p>\n<p><img decoding=\"async\" width=\"730\" height=\"730\" class=\"alignnone size-full wp-image-25744\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/3.JP_Downer_Decent_don_project_1.jpg\" alt=\"\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/3.JP_Downer_Decent_don_project_1.jpg 730w, https:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/3.JP_Downer_Decent_don_project_1-150x150.jpg 150w, https:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/3.JP_Downer_Decent_don_project_1-400x400.jpg 400w\" sizes=\"(max-width: 730px) 100vw, 730px\" \/><\/p>\n<p>Downer Decent Don project<\/p>\n<p>La sisena Biennal d&#8217;Atenes va ser una invitaci\u00f3 a reconsiderar el valor d&#8217;\u00fas del \u00abQu\u00e8 Collons\u00bb post-digital: els comissaris van dissenyar els <em>lobbies\u00a0<\/em>de l&#8217;hotel abandonat per a fer veure que acollien un simposi imaginari de festes estranyes, comerciants, clubs, cultes i associacions esportives. Quin cony fa una tira c\u00f2mica post-meme \u2013que representa a Donald Trump com un tipus decent- en un hotel mitj\u00e0 en ru\u00efnes en el centre d&#8217;Atenes? (Aquesta \u00e9s la s\u00e8rie subliminalment inquietant de J. P. Downer, <em>Decent Don<\/em>). Per qu\u00e8 actuen els vilatans com un culte c\u00e0rrec en el treball de Panos Sklavenitis? Qu\u00e8 fa un gat taxid\u00e8rmic (<em>Ceiling Cat\u00a0<\/em>d&#8217;Eva i Franco Mattes) damunt dels escriptoris dels sis economistes emprats per Peng! Collective en <em>Civil Financial Regulation Office? <\/em>En suma, com poden distorsionar el substrat de la nostra cultura digital unes materialitats i unes relacions no-anticipades?<\/p>\n<p><img decoding=\"async\" width=\"760\" height=\"507\" class=\"alignnone size-full wp-image-25747\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/4.Panos-Sklavenitis_Cargo_ph-Nysos-Vasilopoulos2-e1553793703334.jpg\" alt=\"\" \/><\/p>\n<p>Panos Sklavenitis Cargo\u00a0 (Fotografia Nysos Vasilopoulos)<\/p>\n<p class=\"Standard\"><img decoding=\"async\" width=\"760\" height=\"506\" class=\"alignnone size-full wp-image-25750\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/5.Ceiling-cat-EvaFranco-mattes-e1553793740945.jpg\" alt=\"\" \/><\/p>\n<p>Ceiling cat Eva &amp; Franco Mattes<\/p>\n<p>Q\u00fcestionar el nihilisme post-ir\u00f2nic requereix trencar la seva cadena d&#8217;equival\u00e8ncies recalibrant la reciprocitat afectiva entre les coses i les persones. Si volem substituir aquesta\u00a0post-ironia per unes formes encara m\u00e9s inquietants de mimesi, haurem de redissenyar l&#8217;espai que separa les trobades digitals i f\u00edsiques, no fer una crida a favor d&#8217;una sinceritat arbitr\u00e0ria i una empatia incondicional.<\/p>\n<p class=\"Standard\">Vegeu AB6 en<span lang=\"EN-GB\">\u00a0<\/span><span lang=\"EN-GB\"><a href=\"https:\/\/anti.athensbiennale.org\/en\">https:\/\/anti.athensbiennale.org\/en<\/a><\/span><\/p>\n<p><img decoding=\"async\" width=\"760\" height=\"507\" class=\"alignnone size-full wp-image-25757\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/Dorota-Gaweda-Egle-Kulbokaite_Young-Girl-Reading-Group_ph-Nysos-Vasilopoulos-e1553794586531.jpg\" alt=\"\" \/><\/p>\n<p>Dorota Gaweda &amp; Egle Kulbokaite. Young Girl Reading Group\u00a0 (Fotografia Nysos Vasilopoulos)<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" width=\"760\" height=\"507\" class=\"alignnone size-full wp-image-25763\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/Linnea-Sjoberg_Salong-Flyttkartong_ph-Nysos-Vasilopoulos1-e1553794647632.jpg\" alt=\"\" \/><\/p>\n<p>Linnea Sjoberg &#8211; Salong Flyttkartong\u00a0 (Fotografia Nysos Vasilopoulos)<\/p>\n<p>&nbsp;<\/p>\n<div>\n<p>(Imatge destacada: Johannes Paul Raether &#8211; Schwarmesen. Photo Myrto Kyritsi)<\/p>\n<p class=\"Standard\"><span class=\"Internetlink\"><b><sup><span lang=\"EN-GB\">1\u00a0<\/span><\/sup><\/b><\/span>Allan Dreyer Hansen, \u00abLaclau and Mouffe and the Ontology of Radical Negativity\u00bb, en <em>Distinktion: Journal of Social Theory<\/em>, vol. 15, n\u00fam. 3, 2014, p\u00e0g. 283-295.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Polaritzaci\u00f3 versus\u00a0antagonisme La polaritzaci\u00f3 i l&#8217;antagonisme s\u00f3n, en realitat, forces socialment innovadores. No obstant aix\u00f2, potser t\u00e9 algun sentit resistir la fusi\u00f3 dels seus llegats. Segons les opinions informades d&#8217;Ernesto&#8230;<\/p>\n","protected":false},"author":2622,"featured_media":25761,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[5995],"tags":[],"coauthors":[6570],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>De la polaritzaci\u00f3 digital a l&#039;antagonisme post-digital.  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Segons les opinions informades d&#8217;Ernesto...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/fromdigitalpolarization\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-15T05:00:31+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-04-19T10:34:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2019\/03\/Johannes-Paul-Raether_Schwarmwesen_photo-Myrto-Kyritsi.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"3000\" \/>\n\t<meta property=\"og:image:height\" content=\"2164\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Kostis Stafylakis\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Kostis Stafylakis\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Kostis Stafylakis\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/fromdigitalpolarization\/\",\"url\":\"https:\/\/a-desk.org\/ca\/magazine\/fromdigitalpolarization\/\",\"name\":\"De la polaritzaci\u00f3 digital a l'antagonisme post-digital. 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