{"id":75011,"date":"2026-03-16T07:30:23","date_gmt":"2026-03-16T06:30:23","guid":{"rendered":"https:\/\/a-desk.org\/?p=75011"},"modified":"2026-03-17T16:45:34","modified_gmt":"2026-03-17T15:45:34","slug":"habitar-la-distopia","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/habitar-la-distopia\/","title":{"rendered":"Habitar la distop\u00eda"},"content":{"rendered":"

Les distopies tecnol\u00f2giques constitueixen una de les formes m\u00e9s influents i persistents de l\u2019imaginari col\u00b7lectiu contemporani. Sorgeixen com a resposta cr\u00edtica a la confian\u00e7a en el progr\u00e9s cient\u00edfic i a la idea, present des de la modernitat, que la tecnologia ajudaria a conformar societats m\u00e9s avan\u00e7ades i lliures. En contrast amb aquesta narrativa optimista, les distopies tecnol\u00f2giques susciten debats en un context tan complex com l\u2019actual: qu\u00e8 passa quan els sistemes t\u00e8cnics deixen de servir les persones i imposen la seva l\u00f2gica, for\u00e7ant una reorganitzaci\u00f3 econ\u00f2mica i social. <\/span><\/p>\n

Recordem que aquest proc\u00e9s no sorgeix del no-res. Les esperances dipositades en la internet col\u00b7laborativa i aparentment democr\u00e0tica dels 90 es trunquen despr\u00e9s dels atemptats de l\u201911 de setembre del 2001. Els governs i les grans empreses van desplegar conjuntament el seu potencial revisant i classificant qualsevol activitat o fet existent a la xarxa. La censura i el control s\u2019imposen sobre els ciutadans. Projectes com ara <\/span>Blacklists<\/span><\/i> (2015-2017) del col\u00b7lectiu multidisciplinari <\/span>DISNOVATION.ORG<\/span><\/a> (2015-2017) reflecteixen la regressi\u00f3 dels nostres drets recopilant una llista de p\u00e0gines censurades, que es poden consultar en format web i enciclop\u00e8dic de 13 volums de 666 p\u00e0gines cadascun. El seu contingut permet recrear el model cultural i sociol\u00f2gic d\u2019all\u00f2 que no \u00e9s accessible. <\/span><\/p>\n

Durant la pand\u00e8mia de la COVID19 del 2020 es van implantar massivament eines digitals associades a les grans empreses del sector. All\u00f2 que semblava que seria un impuls el qual reduiria dr\u00e0sticament la bretxa digital, i milloraria la nostra comunicaci\u00f3, esdev\u00e9 una trampa gestada pr\u00e8viament. S\u2019acceleren els plans d\u2019expansi\u00f3 i implantaci\u00f3 de determinades metodologies, formats i est\u00e0tiques que homogene\u00eftzen aspectes fonamentals de la nostra vida social i professional tal com els entenem en l\u2019actualitat. <\/span><\/p>\n

En aquest per\u00edode reben especial rellev\u00e0ncia iniciatives innovadores i sense \u00e0nim de lucre, basades en eines de codi obert, en l\u2019\u00e0mbit cultural (que van contribuir a difondre debats, continguts i esdeveniments). Despr\u00e9s del per\u00edode d\u2019excepci\u00f3, moltes van ser abandonades o relegades en favor d\u2019opcions comercials, afeblint el moviment de la cultura lliure<\/span><\/p>\n

Autors com ara Shoshana Zuboff, Eric Sadin o Kate Crawford van analitzar i ens van advertir sobre els racons foscos del poder tecnol\u00f2gic, les seves metodologies i estrat\u00e8gies, dissenyades pels qui avui dia formen part de la seva oligarquia. Els seus textos esmicolen com aquestes estructures algor\u00edtmiques aconsegueixen imposar els seus models en l\u2019organitzaci\u00f3 social. Actuant al marge de principis \u00e8tics sobre la pol\u00edtica i l\u2019economia global, sense respectar el poder dels estats i les lleis, fins a arribar a soscavar democr\u00e0cies aparentment representatives i estables. Crawford, juntament amb Vladan Joler, representen aquest vast entramat en <\/span>Calculating Empires<\/span><\/i> (2023), una representaci\u00f3 de l\u2019evoluci\u00f3 de les connexions entre la tecnologia i el poder des del 1500 fins als nostres dies. Eviten la simplificaci\u00f3 i el solucionisme imperants a l\u2019hora de gestionar la informaci\u00f3, i conviden el p\u00fablic a veure, reflexionar i plantejar noves propostes de futur. <\/span><\/p>\n

A la concentraci\u00f3 del poder tecnol\u00f2gic s\u2019afegeix la creixent inversi\u00f3 en intel\u00b7lig\u00e8ncia artificial. L\u2019\u00fas intensiu de dades ha derivat, tot i que, paradoxalment, en la necessitat d\u2019augmentar-ne tant la capacitat de captura com d\u2019an\u00e0lisi. El seu \u00fas es troba present a les nostres aplicacions a trav\u00e9s de recomanacions, assistents de veu, <\/span>xatbots<\/span><\/i> o sistemes de reconeixement facial. Aquesta evoluci\u00f3 \u00e9s present en propostes com ara <\/span>Machine Biography<\/span><\/i> (2019-2022) de Clara Boj i Diego D\u00edaz, en la qual els autors van generar una biografia predictiva per al 2050 a partir de tota la seva activitat digital recollida al llarg del 2017 mitjan\u00e7ant una app comercial destinada a espiar tel\u00e8fons m\u00f2bils. La quantitat de dades obtingudes donava lloc a dos projectes previs: la publicaci\u00f3 de 365 llibres impresos (<\/span>Data Biography<\/span><\/i> (2017)), i un relat visual de 24 hores de durada (<\/span>Data Biopic<\/span><\/i> (2018)). <\/span>Machine Biography, <\/span><\/i>posa en dubte la capacitat predictiva de la intel\u00b7lig\u00e8ncia artificial i la seva repercussi\u00f3 social.<\/span><\/p>\n

\"distopies

Machine Biography, de Clara Boj i Diego D\u00edaz. Cortesia dels autors.<\/span><\/p><\/div>\n

 <\/p>\n

Les empreses tecnol\u00f2giques han copat les infraestructures en les quals es basa la societat actual. S\u2019han acceptat les normes imposades per les multinacionals del sector, i la vida digital ha fagocitat la vida real. Les dues dimensions de la nostra exist\u00e8ncia i identitat arriben a confondre\u2019s i fusionar-se en tota mena de decisions, cosa que limita considerablement les nostres possibilitats d\u2019interacci\u00f3 social.<\/span><\/p>\n

Vivim enganxats als nostres dispositius per treballar, socialitzar o contemplar contingut de proced\u00e8ncia dubtosa. Com b\u00e9 s\u2019explica en un mem viral, \u201cpassem d\u2019estar connectats tot el dia a una pantalla de 15 polzades, a descansar davant d\u2019una de 55\u201d. L\u2019acc\u00e9s a continguts gratu\u00efts a costa de la nostra privacitat, i les plataformes de cost accessible imposen la seva oferta davant la cada cop m\u00e9s escarida compet\u00e8ncia. Davant l\u2019allau de dades s\u2019ha propagat una actitud de mancan\u00e7a pel que fa al q\u00fcestionament dels processos, la veracitat i l\u2019\u00e8tica darrere all\u00f2 que consumim. <\/span><\/p>\n

Artistes com Aram Bartholl o Dries Depoorter reflecteixen la nostra disposici\u00f3 envers el context a trav\u00e9s de diverses obres. El primer, a <\/span>Perfect Beach<\/span><\/i> (2018) recorre a la performance (i de vegades al Photoshop), emprant tres grans impressions de platges tropicals per amagar la seva saturaci\u00f3 real a les imatges. Depoorter, mentrestant, mostra a <\/span>The Follower<\/span><\/i> (2023) la manipulaci\u00f3 dels <\/span>influencers<\/span><\/i> a Instagram confrontant les seves publicacions amb captures del moment exacte en qu\u00e8 es van fer les fotos. Les realitats de totes dues propostes difereixen d\u2019all\u00f2 que es mostra a les xarxes socials. A <\/span>The Flemish Scrollers<\/span><\/i> (2021-2026) fa servir la intel\u00b7lig\u00e8ncia artificial i el reconeixement facial per etiquetar autom\u00e0ticament pol\u00edtics flamencs distrets amb les seves pantalles durant les retransmissions en directe de les reunions. Les imatges d\u2019aquest control es publiquen etiquetades a Instagram i a X. Amb aquestes captures aconsegueix caricaturitzar la classe pol\u00edtica, i per identificaci\u00f3, tothom qui les contemplen.<\/span><\/p>\n

\"Sistema<\/p>\n

\"Imatge

Imatges de <\/span>The Flemish Scrollers <\/span><\/i>(2021-2026), de Dries Depoorter (Autor: Dries Depoorter).<\/span><\/p><\/div>\n


\n<\/span>S\u2019ha aconseguit captar la nostra atenci\u00f3 a costa dels nostres sentits. Res no destaca, res no ens sorpr\u00e8n. El flux algor\u00edtmic ens ofereix amb m\u00e9s rapidesa m\u00e9s productes d\u2019acord amb el nostre etiquetatge. No resulta estrany, doncs, que l\u2019experimentaci\u00f3 en el disseny hagi esdevingut residual en tots els \u00e0mbits. Fins i tot, en la creaci\u00f3 digital: la recerca present des de fa dues d\u00e8cades s\u2019ha transformat en un nou paradigma d\u2019homogene\u00eftzaci\u00f3 i repetici\u00f3, en el qual les propostes cr\u00edtiques o que no concorden amb all\u00f2 que s\u2019ha establert queden invisibilitzades. Aquest \u00e9s el motiu pel qual \u00e9s m\u00e9s necessari que mai mostrar i difondre peces que generin altres narratives sobre els models establerts. Apropem-nos, per exemple, a les d\u2019Estampa, que se centren a comprendre i mostrar a l\u2019espectador el funcionament de la IA, generant noves narratives po\u00e8tiques respecte a la inviabilitat de plasmar les paraules en imatges i viceversa. A les obres i textos d\u2019Hito Steyerl, que denuncien la vigil\u00e0ncia i la precaritzaci\u00f3 darrere les tecnologies. O b\u00e9 a les interrelacions entre el que \u00e9s real i el que \u00e9s artificial presents en les col\u00b7leccions d\u2019imatges d\u2019Anna Ridler.<\/span><\/p>\n

Apropar-se a la cultura digital cr\u00edtica pot actuar com a est\u00edmul davant l\u2019ensopiment individualitzat indu\u00eft. Pr\u00e8viament, per\u00f2, ens hem de veure, recon\u00e8ixer-nos per aturar la nostra in\u00e8rcia. Fem servir les mateixes estrat\u00e8gies: afrontem els fets, i no confonguem informaci\u00f3 amb opini\u00f3.<\/span><\/p>\n

\u00c9s el moment de decidir el nostre cam\u00ed, i potser, caldr\u00e0 frenar-se en l\u2019\u00e0mbit tecnol\u00f2gic per poder replantejar propostes transversals relacionades amb la cura i el nostre entorn. \u00c9s dif\u00edcil, per\u00f2 no impossible.<\/span><\/p>\n

[Imatge destacada: Machine Biography, de Clara Boj i Diego D\u00edaz. Cortesia dels autors]<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Les distopies tecnol\u00f2giques constitueixen una de les formes m\u00e9s influents i persistents de l\u2019imaginari col\u00b7lectiu contemporani. Sorgeixen com a resposta cr\u00edtica a la confian\u00e7a en el progr\u00e9s cient\u00edfic i a…<\/p>\n","protected":false},"author":2978,"featured_media":74694,"comment_status":"closed","ping_status":"closed","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":[7207],"tags":[8242,8243,8244,8168,7561,8245,8246,8247,8248,8249,8250,8251,8252,8253,8254,8255,7262,8256,8274,8257,5798,8258,8259,7265,8260,8261,8275,8262],"coauthors":[7669],"acf":[],"yoast_head":"\nDistopies Tecnol\u00f2giques i Art Contemporani<\/title>\n<meta name=\"description\" content=\"Paloma 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