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The philosophy of the post-human: the new frontier of the subject of Anthony Caro, Mario and Antonio Tursi Pireddu

The philosophy of the post-human: the new frontier of the subject

Antonio Caronia, Mario and Antonio Tursi Pireddu

is not the first time that the use of a term is due to ambiguity and confusion in the understanding of the concept which expresses or process that tries to depict. This is typical in particular of new words with the prefix post-, which refers to the elimination or deep change of a situation while the process is still ongoing, and therefore it is not clear the landing, even provisionally, to which they tend. The term "post-human" something is happening, as indeed already happened with the term "post-modern". As in that case, post-human refers to a series of transformations of scale is very general and relate to man's relationship with the world and the adjusters of cultures: in short, the use of this term indicates that we are in the presence of new characteristics of humanity's journey, which began one and a half years ago with the appearance of the first species of primates standing and technical ones, has never ceased to be transformed and redefined with each new stage of development of related techniques and cultures. It is true that, as in the case of debate on post-modern, even the term post-human ends to cover a series visions of very different and often antithetical, all developed from the common recognition of the character of a new cultural and technological threshold that the processes involved. It should be noted however that in this debate, supporters of the most radical and essentialist (those, namely, that focus exclusively or primarily on morphological changes to which man should prepare for impact of new tools provided by information technology , biological and bioinformatics), prefer to use the term "trans-human."

Unlike the latter (as Hans Moravec, or editors of the transhumanist Declaration of 1999, Max More and more), we do not think the point is that of birth - in their opinion desirable, to be exorcised or rejected according to others - of a new species that is about to replace the 'homo sapiens following a series of hybridizations with technology: these positions we consider weak, inherently contradictory, and we also think, as noted by the biologist Roberto Marchesini, which means they do not exceed the' el'antropocentrismo humanism of the Western tradition, but rather it represents a belated and hyperbolic exaltation. The thought of post-human should not be limited to uncritically extol a "new species" that defeats death through technology, but must certainly take all the complexity of a situation in which they entered into crisis as the traditional relationship between biological and cultural data . Post-human means, in this sense, the recognition that the balance between cultural components and biological components in the human being is changing more radically than it has ever changed in the history of the species, but this discontinuity is no effect of an evolutionary history which is not at all denied. If the processes of hybridization are currently undergoing an extension and an unprecedented acceleration, this should not obscure the fact that hybridization has always been present in the history of mankind, and it was based on any cultural process. What's new today is that the pace of technological and cultural transformation is challenging the role of the human biology that had hitherto had, and that is to mark the limit of cultural evolution. This is a consequence of the jump that cultures are doing on a local scale to a global scale, from a dimension of adaptation to a size expansion, a sphere of action limited to the materiality of the outside world the ability to influence the size and genetic biological human being itself.

Faced with processes that reach the shock and dismay may be reactions understandable, but to prevent clearly assess the situation and suggest particular actions of rejection and a return to status quo ante that, besides being impossible, leaving us helpless against the most severe impacts of the processes themselves. The right attitude, facing the issues of post-human, it seems that Karl Marx proposed in front of the capitalism, not take refuge in an impossible return to the past, but bravely take the new economic, social and cultural to emerge within it the possibility of freeing mankind from exploitation and domination, a goal that only the new terms, and not the old, allowed. So today address the problems of post-human means to work for the possible deployment of the technology mean new possibilities for emancipation and development of new subjectivities.

Confronting the horizon post-human otherness involves opening of a globalized world and abandon the claim of a "humanism" that has almost always been synonymous with anthropocentrism today that there is always different closer, is no longer acceptable to end the alleged de-Man based on limited categories (reasonable, white, educated, owner, Western). Again: cybernetics has been to put emphasis on opportunities for even non-human communication, understood as a machine (or animal), and now seems purely self-celebratory reminder of the difference as the only human being capable of communication. Leaving aside the discussion on the machines as well, it's almost trivial to remember how many animal species are able to communicate, and do so very complex, not only between conspecifics, but also between different species. The concept of post-human, therefore, far from being just similar to that of post-organic or trans-human, means for us to recognize the need for openness to otherness and the definition of who we are as humans.

Finally, we can not overlook the direct impact that speech has on post-human realm of political and human rights: in this regard In our opinion there is no attempt to "omnipotence" in wanting to understand more closely the nature of the relationship between humans and technology - as suggested instead of Barcelona in its recent Peter keynote in honor of Pietro Ingrao entitled " The era of post-human. " We do not consider the use of certain omnipotent powers to counter the emergence of new diseases or to counter the existing. If anything, the problem arises when a controlling influence such that the forms of intervention that most depend on - or should depend - the free exercise of individual will be denied in the name of a moral tension that always belongs to everyone. As was the case for the Law 40 on artificial insemination, which has denied the woman's conscious use of technology for procreation, and as happens every day for those who feel the need to request a suspension of therapies that do not treat more but merely prolong death. In the latter case is to be denied the right to refuse aware of the technology partnership, where it is now considered a burden rather than a help.

The post-human horizon appears, therefore, as a reminder of the personal sphere of autonomy, awareness, accepting and surrender, the crossing thresholds and hybridization with otherness. No more hubris as a moment of crisis but as the engine of conjugation, not more technology and media as mere instruments but as parts of ourselves, for our life, of our living.

["Liberation", April 21, 2007]

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The game between science and art - arrythmiston rhytmos and Francesco Monico

In teaching and research of artistic phenomena now have to consider two ways: on one hand the lyrical flow of these phenomena, as an expression of outrage that will let lock up and structure patterns in arid and fixed laws, and secondly we must set out to study them in their formal regularity, to discover the rhythm that is, their paths, or intended as the Sophists, in their rhytmos.

The rhytmos is the succession rules and proportions of the artistic process as well as their distinctive shape, the figure in proportion to their constraints, their arrangement in space environmental effects of the dominant concepts. The rhytmos is, therefore, what today we give a model, structure and regularity, now known as the Anglo-Saxon world 'peace', ie the formal organization of creative possibilities.

arrythmiston The concept is the opposite, this concept in contrast to what many think was not made by Aristotle but by Antiphon the Sophist, the arrhytmiston is "free to structure" of Heidegger and the fund, "grund "Schelling. And it is in the understanding of both forms that we can see a pattern. In this sense rhytmos / arrythmiston may be compared to the figure / ground gestalt.

Gestalt psychology is first and foremost a theory of sensation, and its thesis is that sensory and cognitive processes are organized on the basis of uniform configurations and structured, according to the holistic principle that the whole is something more and than the sum of its parts, as in the emerging pincipi. Why is everything in the "game" between figure and background that creates an emergency. A melody is more than the sum of sounds, so much so that it can be performed in a different key or tone remained the same at the end of the same melody, but its purely acoustic components have changed. For the same reasons that we perceive, that the creative thinking process is the result of a system of components internally divided into infinite number of parts in dynamic relationship with each other and with the whole.

This creates a restructuring of the information coming from reality, a balance sensory reorganization also known as 'sensory ratio'. In this sense, the sensory image is a force field (resonant), because the elements present in it, although separated in space, influence and interact with each other, just as electrical or electromagnetic forces.

It follows that every creative process is always a choice, ie an allocation within a field of possibilities, of particular importance to certain stimuli considered beneficial to the mental process and a neglect of others, is not relevant the mental process. The object is always grasped by the mind but in different configurations.

The word that emerges from these considerations is to insight, intuition, which literally means the "see inside" and refers to any phenomenon by which a mental content is still an idea as sudden and unexpected.

The concept of insight has been used by T. Khun to explain the revolutionary change of scientific paradigms, namely that historical phenomenon to which the whole of nature gives rise suddenly to a different reality, such that it gives meaning to the first elements insignificant, and vice versa.

rhytmos and arrythmiston So the game takes place in the design. Both views have useful cognitive and can be reported in two cultures, the arrythmiston lyrical and artistic culture, the structured rhytmos is science.

Today the question of the two cultures and overcome in the concept of 'reconciliation', the tendency to join the major scientific disciplines and the humanities. Today, the teaching and research must address the work both from an artistic point of view from both the scientific as in the game between the two points of view will have the chance to have a sensory experience of the work.

Today, the systematization of their knowledge is shared between disciplines such as mathematics, epistemology, phenomenology, mediology, semiotics, information theory, linguistics, cybernetics, psychology. This approach is not new in the cultural tradition of the West, since Aristotle's Poetics and the canons of Greek proportions of fine arts the aesthetic phenomena were analyzed rationally: the philosophy and science technology for the Greeks as well as SophistiKate techno, but science is also imaginative interpretation.

However the themes of the opposition between the two approaches, theorized by the romantic and idealistic philosophies of Schelling and Cross have become cliches of our culture: the artist free creator, the divine creator, genius who acts unruly responding only to itself. While the scientist responds to the cultural community with a public method to do this, look describable patterns of reality, and then somehow impoverishes to study it.

But it is not hard to find moments of solidarity that has never ceased to connect the two areas together. The scientific method has its moments and crucial assumption in the experiment and also the modern and contemporary art is built as an experiment and whether this peculiarity is declared only for some decades in fact it is present from the Renaissance.

foundation and motivation to push the art form and science are the means of production and relations of production, namely the economic and social structure. So the basic question of how the activities of the science and art is useful, the social interest.

The current technology is the product of the realization of the means of production within a specific system of relations of production and it is defined its limits and its lines of development in building a real model of a process of reality on which to operate the scientific process. The lyricism is artistic research and anarchic drive where man is free, finally, from himself. Today the art is a science to reach its ultimate potential, and who knows what will become.

For everything

Teaching tries to go deep to look for analogies, homologies of structure between the artistic method and scientific method. So arrythmiston rhytmos and are both planning, allocation of meaning, mediation of reality, and ultimately in their meeting, which reveals the dynamic beauty of nature, art and science are times when the same function that gives meaning to the world, the practice of cognitive function, work, and work.

Francesco Monico http://www.thelightbrigade.org 02/03/2004