{"id":28994,"date":"2020-09-07T06:00:29","date_gmt":"2020-09-07T05:00:29","guid":{"rendered":"http:\/\/a-desk.org\/?p=28994"},"modified":"2023-07-09T14:34:32","modified_gmt":"2023-07-09T12:34:32","slug":"espectres-posturbans","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/espectres-posturbans\/","title":{"rendered":"Espectres posturbans"},"content":{"rendered":"

Al juny o juliol de 1937 Simone\u00a0<\/span>Weil<\/span>\u00a0va escriure l’esborrany d’un article titulat originalment <\/span> \u201cM\u00e9ditations sur un cadavre\u201d,tradu\u00eft a l’angl\u00e8s com <\/span> \u201cMeditations on a corpse\u201d. [i]<\/a> En ell esbossa una necrol\u00f2gica premonit\u00f2ria sobre la mort anunciada del govern del\u00a0Front<\/em>\u00a0<\/em>Populaire<\/em>\u00a0a la Fran\u00e7a de l’\u00e8poca; una forma que era ja llavors, segons\u00a0Weil, una cosa morta, un cad\u00e0ver. En el lapse de sis mesos que discorren de la il\u00b7lusi\u00f3 al desencantament i que culminen amb la dimissi\u00f3 del Primer Ministre, el socialista\u00a0L\u00e9on Blum, la fil\u00f2sofa i brigadista sent\u00e8ncia que no s’han produ\u00eft canvis substancials en els fets de la vida social \u2013malgrat els Acords de\u00a0Matignon entre patronal, sindicats i govern en 1936\u2013, sin\u00f3 en l’\u00e0mbit dels sentiments, de les emocions. L’enfonsament de l’economia, les campanyes medi\u00e0tiques en contra, l’ascens dels feixismes, el desequilibri entre les forces socials i la imaginaci\u00f3 col\u00b7lectiva visibilitzaven post mortem<\/em>, per a Simone\u00a0Weil, l’efic\u00e0cia del maquiavel\u00b7lisme com una eina per a la presa de decisions pol\u00edtiques en moments cr\u00edtics. Abans que arribi el reconeixement de la mort de la pol\u00edtica sota la forma del crit voluntarista\u00a0\u00e0<\/em>\u00a0<\/em>mort<\/em>\u00a0la\u00a0<\/em>politique<\/em>, aquest \u00e9s un aprenentatge, una lli\u00e7\u00f3 hist\u00f2rica que pot extreure’s de les meditacions sobre un cad\u00e0ver, el d’un govern pr\u00e8viament a la seva liq\u00fcefacci\u00f3.<\/p>\n

*<\/p>\n

Al febrer de 1993 el te\u00f2ric, historiador i cr\u00edtic d’arquitectura rom\u00e0\u00a0Manfredo\u00a0Tafuri\u00a0va pronunciar la\u00a0lezione<\/em>\u00a0inaugural del\u00a0Istituto Universitari\u00a0di\u00a0Architettura\u00a0di\u00a0Venezia, \u201cLe forme del tempo.\u00a0Venezia\u00a0e la\u00a0modernit\u00e0\u201d, on assenyala la transici\u00f3 del cad\u00e0ver de l’urb\u00e0 \u2013de Ven\u00e8cia\u2013 cap a la seva condici\u00f3 espectral: “El problema no era si ser\u00eda mejor ponerle maquillaje a un cad\u00e1ver, mejor ponerle colorete, hacerlo tan rid\u00edculo que causara risa incluso a los ni\u00f1os; o bien lo que hemos conseguido nosotros los defensores, pero sin poder, profetas desarmados, es decir, que el cad\u00e1ver se lic\u00fae ante nuestros ojos\u201d. [ii]<\/a> Quinze anys m\u00e9s tard, el fil\u00f2sof Giorgio\u00a0Agamben\u00a0va rescatar aquestes paraules per a elaborar un text breu, \u201cDe la utilidad y los inconvenientds de vivir entre espectros\u201d, on repren les idees larvades per\u00a0Tafuri\u00a0per a projectar-les en un estadi posterior, el de l’espectralitat\u00a0de l’urb\u00e0 com una forma de vida. [iii<\/a>]<\/a><\/p>\n

Les imatges anticipat\u00f2ries de la ciutat morta \u2013La mort a Ven\u00e8cia<\/em>\u2013, d’una modernitat decadent, que habita uns llimbs temporals\u00a0post-hist\u00f2rics\u00a0i\u00a0postmoderns, pertanyen avui a un imaginari normalitzat, interioritzat, tenallat; no anuncien res, sin\u00f3 que certifiquen un estat p\u00f2stum i espectral que, no obstant aix\u00f2, est\u00e0 mutant. La \u201cnova naturalesa\u201d artificial encarnada en la vella metr\u00f2polis esdev\u00e9 en \u201cnaturalesa morta\u201d davant l’experi\u00e8ncia de la urbanitat contempor\u00e0nia perif\u00e8rica, una vegada s’han produ\u00eft canvis substancials en els fets de la vida social, despr\u00e9s de l’esdeveniment<\/em>. Quina \u00e9s la forma del temps de la polis buidada? La suspensi\u00f3 de la temporalitat, la dissoluci\u00f3 del passat i el futur, un confinament en el present. Solitaris passejos nocturns en un espai p\u00fablic silenciat, negat al seu \u00fas, predeterminat pel distanciament dels cossos. Entre restes classicistes d’una vella capital de l’Imperi i aparadors d’Inditex amb displays de maniquins que vesteixen peces de temporades que ja no s\u00f3n, ni importen. Escoltant a trav\u00e9s dels\u00a0airpods\u00a0en manera repetici\u00f3 a estones \u201cNeoVdO\u201d de Erik Urano<\/a> (Nos dirigimos a una \u00e9poca de comunicaciones simult\u00e1neas, postindustrial, postliteraria, postindividualista, postcivilizada, que provocar\u00e1 una nueva confraternidad universal, desideologizada, electr\u00f3nica, neotribal<\/em>), a ratos \u201cFukushima\u201d de Tri\u00e1ngulo de Amor Bizarro<\/a> (En la periferia no hay nada que hacer, en la periferia no hay nada que perder<\/em>). El reconeixement d’un territori concret, les maneres de veure el ja conegut, el ja consumit, amb una mirada estranya, ex-\u00f2tica. El retorn del sublim entr\u00f2pic. Seria l’ampliaci\u00f3 de la condici\u00f3 perif\u00e8rica, les perif\u00e8ries de les perif\u00e8ries, la intensificaci\u00f3 de la segregaci\u00f3 espacial segons els nivells de renda i el cant de cigne de la\u00a0neorepoblaci\u00f3: la volta a les ciutats petites i \u201cbarates\u201d, als pobles, la volta al camp. La re-naturalitzaci\u00f3 ambiental com a eufemisme t\u00e8cnic, \u2013que es tradueix en la injecci\u00f3 d’inversions econ\u00f2miques de la UE destinades a grans plans de rentades de cara verda sobre l’espectre de l’urb\u00e0 (la\u00a0verdolatria \u00e9s l’higienisme despr\u00e9s de\u00a0Haussmann)\u2013, alhora que es dificulta o impedeix tant el desplegament org\u00e0nic de formes de vida no-humanes quan aquestes no estan sotmeses, com unes certes estrat\u00e8gies des-urbanitzadores\u00a0decreixentistes. S\u00f3n aquests efectes propis de l’experi\u00e8ncia metropolitana moderna o\u00a0postmoderna?\u00a0Potser no. Les derives de\u00a0lxs\u00a0fl\u00e2neurs<\/em>\u00a0en l’horitz\u00f3 pand\u00e8mic \u2013dels\u00a0riders<\/em>\u2013\u00a0caminen sobre una tensi\u00f3, la de l’urb\u00e0 i el seu revers espectral \u2013l’experi\u00e8ncia col\u00b7lectiva de la mort com una ficci\u00f3 amena\u00e7adora, retroactiva i intermitent\u2013, que no \u00e9s si no un llindar: el de les transicions cap a una polis implosionada,\u00a0multinodal, interconnectada, ecosocial, redistribu\u00efda territorialment segons principis democr\u00e0tics, accessible.\u00a0Posturbana.<\/p>\n

*<\/p>\n

Al llarg de l’any 2029, la Major\u00a0<\/span>Motoko<\/span>\u00a0<\/span>Kusanagi<\/span>lidera la Secci\u00f3 9 de Seguretat P\u00fablica, un grup armat que forma part dels aparells de govern del Jap\u00f3, especialitzat a combatre delictes inform\u00e0tics en un context de reordenaci\u00f3 geopol\u00edtica immediatament posterior al cataclisme <\/span>global. [iv]<\/a> La virtualitzaci\u00f3\u00a0<\/span>transescalar <\/span>de les relacions socials constitueix la nova normalitat, una l\u00f2gica dominant que transforma l’experi\u00e8ncia de la trobada dels cossos \u2013encara necessaris\u2013 en l’espai p\u00fablic en una realitat subsidi\u00e0ria, fins i tot per al terrorisme. En un m\u00f3n que est\u00e0 a l’espera de l’adveniment de la\u00a0<\/span>posthumanitat<\/span>, els grans avan\u00e7os tecnocient\u00edfics de car\u00e0cter prometeic permeten la producci\u00f3 sint\u00e8tica del cos perfecte i immune de\u00a0<\/span>Kusanagi<\/span>, que es fabrica i assembla en una cadena de muntatge, que no necessita ser exercitat ni gaireb\u00e9 alimentat per\u00f2 s\u00ed que mantingut i cura perqu\u00e8 continua sent vulnerable; pot ser afectat. El cos a la deriva f\u00edsica i virtual, urbana i digital, de la comandant\u00a0<\/span>Kusanagi<\/span>\u00a0es refugia en la seva cel\u00b7la capsular, separada per\u00f2 oberta i connectada a la ciutat: \u00e9s la nova noia n\u00f2mada de T\u00f2quio. Els seus h\u00e0bits donen forma a un\u00a0<\/span>reenactment<\/span>\u00a0futurista d’aquell projecte ut\u00f2pic dissenyat per\u00a0<\/span>Toyo<\/span>\u00a0<\/span>Ito <\/span>(1985-6), en el qual una jove\u00a0<\/span>Kazuyo<\/span>\u00a0<\/span>Sejima <\/span>posava el cos en les escenes configurades pels\u00a0<\/span>PAO<\/span>\u00a0I i II, aquestes lleugeres cabanyes\u00a0<\/span>neoprimitives<\/span>, unipersonals,\u00a0<\/span>desmaterialitzades<\/span>, habitacions pr\u00f2pies on construir una subjectivitat aut\u00f2noma que ja no garanteix el \u201c<\/span>existence<\/span>\u00a0<\/span>minimum\u201d<\/span>\u00a0sin\u00f3 \u00e9s en simbiosi amb el fulgor d’una vida metropolitana\u00a0<\/span>anarcocapitalista<\/span>\u00a0i\u00a0<\/span>ciberespacial<\/span>\u00a0en la qual tota socialitzaci\u00f3 ha estat mercantilitzada.<\/span>
\n<\/span><\/p>\n

La nuesa de\u00a0Motoko\u00a0Kusanagi, tota una c\u00edborg existencialista que medita sobre el seu propi cad\u00e0ver, li permet la seva integraci\u00f3 radical en un espai urb\u00e0 que \u00e9s ara una simple manifestaci\u00f3 especulativa, un de les maneres del\u00a0Big\u00a0Data. Ella decideix abra\u00e7ar aquesta ampliaci\u00f3 del camp de l’experi\u00e8ncia renunciant a l’empresonament, a la reducci\u00f3 al cos. Un cos sense \u00f2rgans, a excepci\u00f3 del cervell i la medul\u00b7la que alberguen la seva\u00a0ghost, el fantasma de la seva autoconsci\u00e8ncia, de la seva identitat, del seu jo; l’espectre de\u00a0Kusanagi\u00a0prescindeix de la seva petxina, de la seva\u00a0shell. Ser espectres confinats en petxines o evitar que el cos esdevingui en una eina \u2013utilitzada per \u201cells\u201d\u2013 de la qual emancipar-se. Dep\u00e8n de nosaltres.<\/p>\n

Juny de 2020.<\/p>\n

 <\/p>\n

 <\/p>\n

[i]<\/a> Simone Weil, \u201cMeditations on a corpse\u201d, New Left Review<\/em> 111, maig-juny 2018 [1937].<\/p>\n

[ii]<\/a> Giorgio Agamben, \u201cDe la utilidad y los inconvenientes de vivir entre espectros\u201d, Desnudez<\/em>, Anagrama, Barcelona, 2011.<\/p>\n

[iii]<\/a> Ibid<\/em>.<\/p>\n

[iv]<\/a> Mamoru Oshii, Ghost in the Shell<\/em>, Jap\u00f3, 1995; inspirada en el manga hom\u00f2nim de Masamune Shirow.<\/p>\n

 <\/p>\n

 <\/p>\n

(Imatge destacada: La Major Kusanagi a la seva habitaci\u00f3; captura de pantalla de Ghost in the Shell<\/em>, de Mamoru Oshii (Jap\u00f3, 1995)).<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Al juny o juliol de 1937 Simone\u00a0Weil\u00a0va escriure l’esborrany d’un article titulat originalment \u201cM\u00e9ditations sur un cadavre\u201d,tradu\u00eft a l’angl\u00e8s com \u201cMeditations on a corpse\u201d. [i] En ell esbossa una necrol\u00f2gica…<\/p>\n","protected":false},"author":1336,"featured_media":29413,"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":[6054],"tags":[],"coauthors":[6522],"acf":[],"yoast_head":"\nEspectres posturbans – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/espectres-posturbans\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Espectres posturbans – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Al juny o juliol de 1937 Simone\u00a0Weil\u00a0va escriure l’esborrany d’un article titulat originalment \u201cM\u00e9ditations sur un cadavre\u201d,tradu\u00eft a l’angl\u00e8s com \u201cMeditations on a corpse\u201d. 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