The rituals, ceremonies and effervescence of the sacred manifest themselves in digital culture not only through the proliferation of new religious cults. They do so through the online actualisation ...of traditional religious forms but also the spiritual elevation of objects (Houtman & Meyer, 2012), practices (Carolyn, 2014) or ephemeral, playful and dreamlike images (Susca, 2016). In most cases, they involve figures that evoke the most sensitive and immaterial aspects of experience: its flesh (Esposito, 2004; Henry, 2000) and its imaginary (Durand, 1992). This is the actualisation of what Durkheim (2008) called the “social divine”. We are thus witnessing the proliferation of a multitude of small churches characterised by a low degree of institutionalisation and a high symbolic and emotional density (Maffesoli, 2020). In this sense, digital sociality acquires a decisive value in transfiguring ordinary life, the realm of the profane, into a mythical and mystical experience, brushing up against the sacred in its wildest form (Bastide, 1975). Indeed, the relationships that emerge from these media landscapes reveal a capacity to associate what is separate in time and space, previously belonging to the spiritual and transcendent orders (Davis, 1999). Thus, the culture of connection and sharing actualises in secular spheres a whole set of symbolic experiences reminiscent of religious mysteries (Campbell, 2012). This imaginary modifies the modern relationship between technology and society according to a paradigm that could be called “technomagic”.
At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with ...unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums".
In order to fully grasp the spirit of our times, we need to analyse fully the contemporary relationship between spectacle and consumption: spectacular consumption and the spectacle of consumption. ...The chain of sign merchandise (Baudrillard, 1968) is simultaneously a mean and a vehicle of adherence to the productive and political system. It takes on extraordinary value from the moment it welcomes all that is non-rational in a rationalised society, as well as it embodies the anti-utilitarian aspect of a social system based solely on the logic of utilitarianism. In this sense, the cycle of spectacular consumption coincides with the consumption of bourgeois individuality, while the mass that has become public becomes the matrix in which the subject loses itself and cushions the weight of change in a way to express the impulses marginalized by the social system.
Será que o “espelho da mídia” se rompeu (talvez tenha traído a sua “missão”) ou talvez tenha passado a se manifestar coerentemente com suas premissas? A série Black Mirror é um estudo de caso ...exemplar que possibilita analisar questões crucias sobre a sociedade contemporânea e que lança o público em seu abismo mais sombrio e mórbido. A sociedade do futuro ali descrita, com premonições lúgubres, lúcidas e visionárias, expressa de maneira paroxística o que já vivemos cotidianamente. É preciso reconhecer que há constantemente presente uma distopia nas nossas vidas diárias. Trata-se de uma ficção científica “realista”: Black Mirror constitui-se em um espetáculo, um museu, uma prisão, uma obra de arte e um videogame interativo sem interrupção entre o exterior e o interior, o eu e o outro, o orgânico e o inorgânico. Em certo sentido, pode-se afirmar que é o mundo em que vivemos, onde todos estamos sujeitos à vigilância generalizada e intangível, quando a tecnologia, os algoritmos e as redes sociais prevalecem sobre os indivíduos, anulando em grande medida a sua autonomia.
Tele-electronic populism, the extraordinary and violent upgrade of the traditional populism, is the most impressive political form in the contemporary scenario: its most resounding innovation. Due to ...its strong drive to represent directly the entire population, it seeks to go through the left-right dichotomy, simply exiling the role of the parties and of the traditional ideological storytelling. It is an update of the oriented marketing, soaked with all codes of the mainstream tv-shows: impertinence, participation, fan culture drawn by social network and conventional populism. Why is evil imagery the source of this phenomenon? Which cultural and societal features do neo-populist forces express? How far do they represent a discontinuity towards the order of the things?
Ao contrário da ênfase inicial que tem sido dado a aspetos relacionados com a inteligência e o conhecimento, conclui-se que a web está a transformar-se progressivamente numa plataforma que convida ...formas estéticas e éticas marcadas por sentidos, emoções e voluptuosidades do prazer, perspetivadas até a partir de um lado negro. Noutras épocas, a pornografia era escondida, obscurecida, pertencendo a uma dimensão marginal da vida coletiva. Hoje, a cultura digital favorece o advento da cultura porno, onde a pornografia assume uma matriz simbólica, um código comum, uma atmosfera. Neste contexto visual e sensitivo, o obsceno fica mais perto da verdade e a verdade apresenta-se como obscenidade. Que imaginário preside a esta constante mutação?
Conversa com o sociólogo italiano Vincenzo Susca em junho de 2023, durante sua passagem por Porto Alegre, quando ministrou aulas sobre paisagem midiáticas e imaginário, a convite do Programa de ...Pós-Graduação em Comunicação da PUCRS. Na entrevista, o professor associado de Sociologia do Imaginário na Universidade de Paul-Valéry 3 (Montpellier, França), falou sobre imaginário, tecnomagia e defendeu a necessidade de “aprender a dançar” sobre as cadeias impostas por uma sociedade cada vez mais governada por algoritmos.
Après une longue période où la technique a joué surtout le rôle d’instrument au service de l’être humain, nous nous trouvons aujourd’hui dans un système intégral d’informations, de machines, ...d’algorithmes et de réseaux, dont les intelligences artificielles sont la dernière manifestation, si puissant que, après en avoir définitivement perdu le contrôle, c’est nous-mêmes qui dérivons d’eux. Nous sommes pris dans leurs rets, qui nous enveloppent et nous attachent à tout ce qui est autre. Happé par une spirale contagieuse, l’être humain devient à la fois chose, information, spectacle, marchandise, œuvre d’art et artiste. Il se défait de sa propre identité́ pour se dissoudre dans l’altérité́ et se retrouver autre que soi. Nous voici comme autant de technomagiciens et de cobayes volontaires d’une expérimentation totalisante sur la vie à venir, en temps réel. Dans ce scénario, les IA ne se limitent pas, selon les utopies modernes, à travailler à notre place. Elles finissent par agir avec nous – et même par nous remplacer – dans les domaines jadis exclus à l’emprise technique : l’art, la création, le jeu…
Les relations issues des paysages médiatiques contemporains, dont la danse techno née à Detroit dans les années 80 est une expression tant emblématique que radicale, révèlent de la part du corps ...social une capacité à associer ce qui est séparé dans le temps et l’espace qui appartenait jusqu’alors aux ordres spirituels et transcendants. Cet imaginaire modifie le rapport moderne entre technique et société selon un paradigme qui pourrait être nommé « technomagie ». « technomagique ». Les communions aux nuances païennes célébrées par les nouveaux rites des médias en ligne et dans le cadre des scènes technos alimentent une forme de croyance fondée sur le partage d’un secret, d’un ordre émotionnel et d’un style de vie communautaire, ou basé sur le commun, dans le cadre d’une joie tragique où l’individu, enveloppé dans une matrice technosociétale, se perd dans quelque chose de plus grand que soi. Il y a là les premières ébauches d’une nouvelle chair aux allures posthumaines, explorée dans cet article au prisme de la sociologie de l’imaginaire et des sciences de la communication.
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