Iposoggetti - Sul divenire umani

by Timothy Morton, Dominic Boyer

Gli iposoggetti sono le specie native dell’Antropocene. Sono plurali, sono il non ancora, il né qui né lì, sono meno della somma delle loro parti. Non cercano né pretendono una conoscenza, un linguaggio e men che meno una forma di potere che siano assoluti. Si accontentano di giocare, di prendersi cura, di adattarsi, di farsi male, di ridere. Gli iposoggetti sono intrinsecamente femministi, antirazzisti, colorati, queer, ecologici, transumani e interumani. Gli iposoggetti sono come squatter che occupano e abitano le crepe e le cavità. Rivoltano le cose come calzini e lavorano con stracci, scarti e residui come faceva Walter Benjamin con i suoi passages. Si disconnettono dalla rete elettrica, hackerano e ridistribuiscono le energie immagazzinate per usarle a proprio beneficio. Gli iposoggetti fanno la rivoluzione nei luoghi in cui il radar della tecnomodernità non è in grado di scorgerli. Ignorano con abnegazione i consigli degli esperti. Sono scettici nei confronti di ogni tentativo fatto per descriverli – compreso, ovviamente, quello che avete appena letto.

Genres: Philosophy, Nonfiction

94 pages, Paperback

Published May 1, 2022

About the author

Timothy Bloxam Morton is Rita Shea Guffey Chair in English at Rice University. They are the author of Dark Ecology: For a Logic of Future Coexistence; Nothing: Three Inquiries in Buddhism (with Marcus Boon and Eric Cazdyn); Hyperobjects: Philosophy and Ecology after the End of the World; and other books.

Reviews

[Uroš Đurković · Rating 5 out of 5]

Na polzu i radost svih zainteresovanih, ova intelektualna prskalica u dvojini može se besplatno preuzeti.

I nisam slučajno rekao dvojina, jer, iako je jasno da su u pitanju dva glasa (Morton/Bajer), oni su potpuno sliveni i stopljeni, tako da se u samo jednom istom pasusu može videti više obrta. Ova isprepletanost i fluidna igrivost izraz je samog naslova knjige, jer je hiposubjekt način postojanja subjekta u dobu hiperobjekata.

O čemu se, zapravo, tu radi?

Hiperobjekat je dugogodišnja Mortonova teorijska opsesija i izraz želje da se izađe iz postmoderne začaranosti jezičkom arbitrarnošću. Umesto što je sve forma jezičke igre, Morton nas podseća da „realni” objekti zaista postoje, ali ne nužno na način na koji smo mislili. Oni mogu biti i toliko nepregledno veliki, neobuhvatljivo masivni i nezaustavljivo generišući, da se opiru svakoj vrsti misaonog usidravanja. I, kako to kaže Morton na više mesta – što više znamo o njima, oni nam postaju sve neobičniji, maglovitiji (26). Tako je ovo epidemijsko nedoba došlo Mortonu kao „kec na jedanaest” za njegovu misao. Kroz pandemiju teza o hiperobjektu je nikad prisutnija. Koronavirus nas se svih tiče, sve prožima i sve nas obuhvata. Pritom, sam virus savršeno ne interesuje da li mi mislimo da on postoji ili ne. Ubija i remeti živote mimo naše volje.
To je gotovo ciničan obrt u odnosu između subjekta (gospodara) i objekta (roba), koji su tako zamenili svoja mesta. (12) Svet koji ne samo što ne treba da bude, već i suštinski nije antropocentričan, mi iznova doživljavamo tako – ravnajući sve u odnosu na percepciju i udobnost čoveka-subjekta. A šta ako se zna, a zna se, da taj i takav čovek-subjekat poseduje odnos mikroorganizama i ćelija 10:1 (64). Mi smo, takoreći, biološki, više ono što nismo i iz te otvorene skrivenosti iskrsava hiposubjekat, koji predstavlja način bivanja u hiperobjektima (22). To je nužno pitanje antropocena, ali i istovremeno, pitanje nužnosti – jer kako uopšte ostvarivati (su)život u obuzetosti hiperobjektima?

(We live in a time of hyperobjects, of objects too massive and multiphasic in their distribution in time and space for humans to fully comprehend or experience them in a unitary way. A black hole is a kind of hyperobject, a biosphere is another. But many of the hyperobjects that concern us have human origins. For example, global warming. Or antibiotics. Or plastic bags. Or capitalism. These hyperobjects exceed and envelop us like a viscous fog, they make awkward and unexpected appearances, they inspire hypocrisy and lameness and dread. (13-14))

Retko šta me raduje kao knjige iz čijih iskričavih ideja, buja inspiracija. I nije tu pitanje o istini, nego o novom, uzbudljivom putu i ushićujućim ukrštajima. A koliko je ovo čitanje bilo podsticajno i golicavo ekcentrično, osim odnosa hiperobjekta/hiposubjekta, govore i razni drugi „znakovi pored puta”: fenomenologija i ontologija banane kod Opre (32), post-postmodernistička nostalgija za desnicom (48), fašizam roštilja i predgrađa i uprirodnjavanje finansija (50), horor kao nužna faza u odrastanju (55), Sloterdijk i krave kao novi proleterijat (63), mašine koje bukvalno skeniraju snove snevača (67), iskustvo gejminga kao konstitutivno (56), šećer i zlo u svetu (81), pretakanje neradnog vremena u radno (87)...

[blank · Rating 4 out of 5]

Pretty fascinating read. It is a style that, from my understanding, has not been explored much in philosophy. A collaborative project that revolves around salads and kombucha, Hyposubjects was not written to be analyzed, scrutinized, regurgitated, or systematized. Like a discourse or an argument but without the clear distinction of two, the surreal one, seemingly from a stream of consciousness, is voicing their concerns of the many: ethnicities, nationalities, generations, classes, consciousnesses, the soil. It maintains a high alert for the white boy savior, it may even be the catharsis required from leading a hyposubjectified being. It is a self-professed project of exploration, project of development: re-becoming, re-understanding, subscending . . .

I'm here for it.

[Luke · Rating 4 out of 5]

“There are now machines that can tell you what you're dreaming. They map your brain firings in a pixelated 3D space, and correlate those 3D pixels to an infinite supply of YouTube videos that suggest the movements and things about which you're dreaming. It's uncanny how accurate it is. In a way, a machine that can tell you what your brain is coming up with might be similar to being able to know what it's like to be a lettuce leaf. It scares me actually…
Roombas? Roombas of the philosophical. Actually that's quite per-fect. It's the ultimate hyposubject isn't it? The Roomba is the perfect inverse to the Skynet/Matrix, transcendent hyperobject. A Roomba is always struggling to come into its agency. It probably feels quite imploded, it's got very limited programming. It knows it wants to get dirt inside of itself, everything else it has to figure out as it goes along, with a fairly limited sensory apparatus. So it sort of trundles along, bumping into walls and furniture, staying very close to the earth. Always less than itself. It's basically a ZhuZhu pet that happens to clean things and that cats like to ride on. Do they? So the cats recognize Roombas as fellow hyposubjects, creatures to play and explore with? Yes, there's a whole genre of YouTube videos of cats sitting on Roombas, going around and around the house.”

“Hiroshima. It explores an aestheties of allowing your body to implode, allowing gravity to pull you towards earth, rather than trying to soar beyond gravity, or move despite gravity. You allow yourself to be sucked down. So perhaps the model is not the volcano, it's more like the bubbling geothermal mud, if you want to think of it Iceland style, bubbles that collapse.”

[Inma · Rating 5 out of 5]

I found it! Finally, I found a book where someone is talking about how clever the Neanderthal moved was! Beyond clever I would say. If you are 90% Neanderthal, this book is for you, and it is ingenious the way they make you look at things, wondering how I did miss this. Really mind blowing!!! And at the same time, it does make total sense to me.

[Lauren · Rating 3 out of 5]

I quite liked this.

[el jel · Rating 3 out of 5]

funky form, some valuable insights, but nothing ground breaking