{"id":8485,"date":"2013-12-21T02:04:00","date_gmt":"2013-12-21T02:04:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/12\/21\/la-sorprenent-parsimonia-dels\/"},"modified":"2013-12-21T02:04:00","modified_gmt":"2013-12-21T02:04:00","slug":"la-sorprenent-parsimonia-dels","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/la-sorprenent-parsimonia-dels\/","title":{"rendered":"La sorprenent parsim\u00f2nia dels herois. Accelerationism a Berl\u00edn"},"content":{"rendered":"

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\nCom correlat de l’exhibici\u00f3 Speculations on Anonymous Materials<\/a><\/em> a Kassel, Armin Avanessian i Matteo Pasquinelli van organitzar a Berl\u00edn el simposi filos\u00f2fic titulat, sum\u00e0riament, Accelerationism<\/a>. Tot i que la exhibici\u00f3 mateixa t\u00e9 un correlat en el seu propi simposi, previst per al gener i tamb\u00e9 organitzat per Avanessian, el simposi berlin\u00e8s va comptar amb la seva pr\u00f2pia exhibici\u00f3, titulada 14.12.13<\/em> en homenatge al calendari gregori\u00e0. L’exhibici\u00f3 amb el seu simposi i el simposi amb la seva exhibici\u00f3 constitueixen la lluna de mel septentrional entre l’escena de l’art post-internet radicada a Berl\u00edn i algunes tend\u00e8ncies de l’anomenat gir especulatiu en filosofia.<\/p>\n

“Quan molta gent que normalment pensa de maneres diferents comen\u00e7a a caminar en la mateixa direcci\u00f3, \u00e9s que s’est\u00e0 formant una bombolla.” La frase de Felix Salmon pot explicar conductes no nom\u00e9s en els mercats financers, tamb\u00e9 en els del coneixement. La disparitat d’interessos i pretensions intel\u00b7lectuals, l’euf\u00f2ria ar\u00edtmica pel present, les refer\u00e8ncies r\u00e0pides a fil\u00f2sofs de lectura lenta, a ra\u00f3 de set o vuit per par\u00e0graf, el name-dropping com a principi d’estructuraci\u00f3 del cosmos s\u00f3n motius parcials si es busca explicar el desmesurat intent de posar sota el mateix sostre el gir especulatiu i l’anomenat art post internet.<\/p>\n

No \u00e9s que faltin punts en com\u00fa, \u00e9s que l’intent d\u2019extenuar el present, ocupant-lo amb un marc d’idees que necessita del desplegament permanent de mostres grupals i antologies filos\u00f2fiques de temporada sembla m\u00e9s a prop de la l\u00f2gica dels festivals que d’un veritable canvi d’hora en el rellotge hist\u00f2ric. La cr\u00edtica \u00e9s intr\u00ednseca a aquestes tend\u00e8ncies criticades, amb el seu enamorament dels agents no humans, la seva veneraci\u00f3 per la s\u00edndrome d’Asperger i les seves visions de grans paisatges ocupats per objectes que es repleguen de la superf\u00edcie. I no obstant aix\u00f2, tant el gir especulatiu com l’art post internet s’assemblen m\u00e9s a la hist\u00e8ria que a l\u2019Asperger, i m\u00e9s al menjar r\u00e0pid que a qualsevol altra cosa: massa lluny de la universalitat i massa a prop de la ind\u00fastria cultural, per dir-ho amb les paraules d’un expresident mexic\u00e0.<\/p>\n

Com en tot, la industrialitzaci\u00f3 de la novetat \u00e9s molt semblant a l’esgotament de la novetat, i el simposi acceleracionista ho va expressar a la perfecci\u00f3 en les paraules desencantades i flegm\u00e0tiques de Benjamin Noys. Tant \u00e8mfasi en les figures m\u00e9s desgastades de la ind\u00fastria tecnol\u00f2gica cl\u00e0ssica, com la Llei de Moore, nom\u00e9s ofereixen una forma cat\u00e0rtica de nost\u00e0lgia. Una curiositat liminar \u00e9s la manca de problemes que escapin del m\u00e9s estricte an\u00e0lisi sociol\u00f2gic del present de part d’un corrent de la filosofia que s’enorgulleix d’enfrontar nous objectes m\u00e9s enll\u00e0 dels l\u00edmits que imposen la consci\u00e8ncia, el llenguatge o el “constructe social”. Per\u00f2 la repetici\u00f3 monotem\u00e0tica de la forma en qu\u00e8 la tecnologia va canviar les relacions de producci\u00f3 no nom\u00e9s no est\u00e0 exempta de la cr\u00edtica, sin\u00f3 que sembla haver-se convertit en un clix\u00e9 tan enervant com ho va ser en el seu moment la psicoan\u00e0lisi: qualsevol argument acaba b\u00e9 amb una refer\u00e8ncia als sistemes o als algoritmes-d\u2019-alguna cosa. Cal dir, amb dolor, que fins i tot Derrida tenia un espectre de temes m\u00e9s ampli que els metaf\u00edsics actuals.<\/p>\n

Un sistema d’idees que sona tan nou com Paul Virilio encobreix per\u00f2 a alguns dels artistes m\u00e9s forts del moment. Per\u00f2 queda en evid\u00e8ncia que la for\u00e7a va en una altra direcci\u00f3. El cas de Katja Novitskova (foto) \u00e9s notori, amb les seves fotografies d’objectes naturals copiades i tallades sobre planxes d’alumini, sostingudes inc\u00f2modament per paradors. La relaci\u00f3 entre el dispositiu d’exhibici\u00f3 i les interf\u00edcies gr\u00e0fiques d’edici\u00f3 resulta poc menys que \u00f2bvia, per\u00f2 el resultat s\u00f3n objectes d’altura humana que actuen frontalment, per\u00f2 fent visible la poca tra\u00e7a del seu suport f\u00edsic. La tercera dimensi\u00f3 i la relaci\u00f3 amb el cos de l’espectador posen als treballs en una \u00f2rbita especial diferent de la interf\u00edcie gr\u00e0fica, des de la qual diversos dels petulants principis de construcci\u00f3 de l’art post internet es perden en la dist\u00e0ncia. Els “nois”, com l’artista els anomena, semblen encarnar una discussi\u00f3 immemorial amb Michael Fried m\u00e9s que una en\u00e8ssima crida a les armes digitals. L’experi\u00e8ncia de rondar al seu voltant ofereix un interrogant, no necess\u00e0riament feli\u00e7, per\u00f2 en tot cas irreductible als t\u00f2pics de la fruita tallada, la impressora 3D i les gorretes d’equips de baseball en qu\u00e8 l’art post internet s\u2019auto-reconeix com un hereu del present.<\/p>\n

El mateix cas \u00e9s v\u00e0lid per a alguns dels fil\u00f2sofs sobre els quals la taca de la novetat especulativa, en la forma d’una hist\u00e8rica quantitat d’antologies i confer\u00e8ncies, sembla acarnissar-se especialment. Recordem nom\u00e9s a Graham Harman, un dels mentors: el fil\u00f2sof que compara una llarga nit de son reparador amb la suspensi\u00f3 de les connexions amb el m\u00f3n exterior i la tornada ontol\u00f2gic a l’ess\u00e8ncia.<\/p>\n

Darrere de l’euf\u00f2ria, alguns artistes estan pensant problemes propis, que no s’esgoten en les converses del moment. Nom\u00e9s alguns, molts, no. Alguns als quals el llarg somni de Harman sembla concedir els seus efectes ben\u00e8fics.<\/p>\n","protected":false},"excerpt":{"rendered":"

Com correlat de l’exhibici\u00f3 Speculations on Anonymous Materials a Kassel, Armin Avanessian i Matteo Pasquinelli van organitzar a Berl\u00edn el simposi filos\u00f2fic titulat, sum\u00e0riament, Accelerationism. Tot i que la exhibici\u00f3…<\/p>\n","protected":false},"author":1258,"featured_media":8459,"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":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nLa sorprenent parsim\u00f2nia dels herois. 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