Process of individuation in hybrid ecologies: on the relationship between art, machines and natural systems

Renzo Filinich; Daniela 1991 Cespedes

doi:10.7238/artnodes.v0i33.418893

PDF ePUB

Google Scholar citations

DOI: https://doi.org/10.7238/artnodes.v0i33.418893

Renzo Filinich

University of the Witwatersrand, Johannesburg

https://orcid.org/0000-0003-1752-0232

Daniela 1991 Cespedes

Researcher and filmmaker Colectivo Pliegue

The following article proposes a relational techno-aesthetics (Simondon-Stiegler) and an onto-epistemological (Barad-Bergson) perspective of technical objects, in order to conceive them as processes of dynamic relations, open and entangled relations between the natural-cultural-social-psychic. These perspectives come together for us, as an alternative to cybernetics, in which the organization is determined by the purpose of the process. Starting from a diffractive reading of the notion of individuation and organology in Simondon-Stiegler (1958/2017) and from an onto-epistemology of the “halfway” in Barad-Bergson’s thought (1907/2007), a processual and hybrid vision of technical objects is proposed in order to provide philosophical bases that go beyond the culture/nature, human/non-human and natural/artificial modern dichotomies. Using these ideas to reflect on contemporary interactive artworks, the article addresses a notion of creativity as an assemblage where the human and the non-human are produced in mutual constitution, considering the relationship between arts, machines and nature and their processes of ontogenesis (Simondon 2015) and epiphylogenesis in this becoming (Stiegler 2002).

Keywords

individuation, machines, ontogenesis, ecology, new materialism

How to Cite

Filinich, Renzo; and Cespedes, Daniela 1991. “Process of individuation in hybrid ecologies: on the relationship between art, machines and natural systems”. Artnodes, no. 33, pp. 1-10, doi:10.7238/artnodes.v0i33.418893.

Rights

This work is licensed under a Creative Commons Attribution 4.0 International License.

(c) Renzo Filinich, Daniela Cespedes, 2024

Copyright

For all articles published in Artnodes that are subject to a Creative Commons Attribution 4.0 International licence, copyright is retained by the author(s). The complete text the license can be consulted at http://creativecommons.org/licenses/by/4.0/. You may copy, distribute, transmit and adapt the work, provided you attribute it (authorship, journal name, publisher) in the manner specified by the author(s) or licensor(s).

Authors are responsible for obtaining the necessary licences for the images that are subject to copyright.

Assignment of intellectual property rights

The author non exclusively transfers the rights to use (reproduce, distribute, publicly broadcast or transform) and market the work, in full or part, to the journal’s editors in all present and future formats and modalities, in all languages, for the lifetime of the work and worldwide.

I hereby declare that I am the original author of the work. The editors shall thus not be held responsible for any obligation or legal action that may derive from the work submitted in terms of violation of third parties’ rights, whether intellectual property, trade secret or any other right.

Author Biographies

Renzo Filinich, University of the Witwatersrand, Johannesburg

Born in Lima (1978), he is a media artist and researcher with a doctorate in Interdisciplinary Studies on Thought, Culture and Society from the University of Valparaíso and a master in Media Arts from the University of Chile. His research is Technological Culture and Aesthetics, and he currently works as a postdoctoral researcher at the Faculty of Arts at the University of the Witwatersrand in Johannesburg. He is also an artist in residence at the Posthuman Art Network and an associate researcher at the Research Network for Philosophy and Technology directed by Yuk Hui.

Daniela 1991 Cespedes, Researcher and filmmaker Colectivo Pliegue

She is a Creative Director, researcher/translator, documentary filmmaker in Colectivo Pliegue, and an audiovisual producer, researching in posthuman thought, process aesthetics, new film/essay formats and contemporary research culture. She is a researcher in the Yeguada Latinoamericana performance project and the Chresis Project. She is the creative producer and screenwriter of Paradojas del Nihilismo, La Academia (2020), Documental 18-0 (2020) and Director of Identidad y Simulacro (2019). Master in Contemporary Art from the University of Barcelona IL3 and Psychologist from the Pontifical Catholic University.

References

Barad, Karen. Meeting the Universe Halfway: Quantum physics and the entanglement of matter and meaning. Durham, NC: Duke University Press, 2007. DOI: https://doi.org/10.2307/j.ctv12101zq

Bergson, Henri. La evolución creadora (Trans. P. Ires). Cactus, 2007 [1907].

Clark, Andy and David Chalmers. “The Extended Mind”. Analysis, vol. 58, no. 1, (1998): 7-19. DOI: https://doi.org/10.1093/analys/58.1.7

Deleuze, Gilles. Bergsonism (Trans. H. Tomlinson & B. Habberjam). Zone Books, 1991 [1966].

Hall, Gary. Digitize This Book!: The Politics of New Media, or Why We Need Open Access Now. Minneapolis: University of Minnesota Press, 2008.

Hui, Yuk. “On Cosmotechnics”. Techné: Research in Philosophy and Technology, vol. 21, no. 2, (2017): 319-341. DOI: https://doi.org/10.5840/techne201711876

Hui, Yuk. Art and cosmotechnics. University of Minnesota Press, 2021. DOI: https://doi.org/10.5749/j.ctv1qgnq42

Hui, Yuk. “Machine and Ecology”. Angelaki, vol. 25, no. 4, (3 July 2020): 54-66. DOI: https://doi.org/10.1080/0969725x.2020.1790835

Massumi, Brian. A shock of thought: Expression After Deleuze and Guattari. Routledge: London, 2002.

Morizot, Baptiste. “La néoténie dans la pensée de Simondon: Ontogénèse d’une hypothèse”. In: J. H. Barthélémy (ed.). Cahiers Simondon, no. 3 (L’Harmattan, 2011), 109-129.

Simondon, Gilbert. El modo de existencia de los objetos técnicos (Trans. M. Martínez & P. Rodríguez). Prometeo, 2008 [1958].

Simondon, Gilbert. La individuación a la luz de las nociones de forma y de información. Cactus, 2015.

Stiegler, Bernard. La Técnica y el tiempo I: El pecado de Epimeteo (Trans. B. Mo-rales Bastos). Argitaletxe Hiru, 2002 [1994].

Stiegler, Bernard. “General Ecology, Economy, and Organology” (Trans. D. Ross). En: E. Hörl & J. Burton (eds.). General Ecology: The new ecological paradigm (Bloomsbury, 2017), 129-150.

Stiegler, Bernard.. “Artificial Stupidity and Artificial Intelligence in the Anthropocene”. [Lecture] made in the Instituto de Ereignis, Shanghai, China the 23 of November, (2018a). https://www.academia.edu/37849763/Bernard_Stiegler_Artificial_Stupidity_and_Artificial_Intelligence_in_the_Anthropocene_2018_

Stiegler, Bernard. The Neganthropocene (Trans. D. Ross). Open Humanities Press, 2018b.

Stiegler, Bernard. “Elements for a General Organology”. Derrida Today, vol. 13, no. 1 (2020, May): 72-94. DOI: https://doi.org/10.3366/drt.2020.0220

Van der Tuin, Iris. “A different Starting Point, a Different Metaphysics: Reading Bergson and Barad Diffractively”. Hypatia, Winter 2011, vol. 26, no. 1, (2011): 22-42. DOI: https://doi.org/10.1111/j.1527-2001.2010.01114.x

Van Loon, Joost. Media Technology: Critical Perspectives. Open University Press, 2007.

Wiener, Norbert. Cybernetics: or control and communication in the animal and the machine. Cambridge, Massachusetts: The M.I.T. Press, 1948.