Formas tecnológicas e formas da comunicação nos artefactos e nos media

Autor: Edmundo Balsemão Pires
Rok vydání: 2020
Předmět:
Zdroj: Revista Filosófica de Coimbra. 29:337-384
ISSN: 2184-7584
0872-0851
DOI: 10.14195/0872-0851_58_3
Popis: portuguesO senso comum da -nos motivos para acreditar que a identidade dos seres vivos naturais e diferente da identidade dos artefactos. Alegadamen-te, a identidade dos artefactos esta de-pendente da forma que lhes e atribuida pelos seus criadores e nao lhes vem de dentro, nao e imanente. Digamos que e esta a distincao que, em geral, se presu-me entre “corpos vivos organizados” e “corpos artificiais organizados”. Ao pre-sumir um ato construtivo humano, o cor-po organizado artificial recebe de fora o seu principio organizador e o que define o seu uso. As obras de arte contam -se entre estes objetos assim como os ins-trumentos. No seculo XIX, algumas descricoes sobre as manufaturas tinham chegado a uma definicao de maquina como um corpo organizado dotado de mocao interna, colocando assim o pro-blema do estatuto das maquinas entre os artefactos. Nao se estranha que um dos problemas recorrentes nas discussoes fi-losoficas atuais sobre a tecnica e a arte seja o do estatuto da dependencia men-tal, intencional, dos artefactos. Essas discussoes demonstraram que a depen-dencia mental nao pode ser avaliada sem clarificar a comunicacao. Pode assim objetar -se aos autores exclusivamente preocupados com o tema restrito da in-tencionalidade da dependencia mental o esquecimento da orientacao comunica-tiva da producao, manual ou industrial, e do seu destino social. Com o presente estudo pretende mostrar -se como a he-ranca platonica da mimesis, exemplifi-cada com as “tres camas” de RepublicaX, 597 b e ss., embora supondo uma di-mensao comunitaria, restritiva, do fazer tecnico, esta presente nos pressupostos de algumas versoes teoricas modernas da tecnica, da producao industrial e da arte. Clarificam -se as nocoes do artifi-ce como produtor para a comunidade, do artefacto e da maquina na industria para identificar os contrastes entre for-mas historicas distintas de compreender o fazer tecnico e as correspondentes ressonâncias semânticas e teoricas. Se-guidamente, caracteriza -se o discurso da critica cultural, representado em alguns textos de Walter Benjamin, Theodor Adorno e Herbert Marcuse, como uma orientacao teorica conservadora frente a autonomia da comunicacao na moderni-dade, a expansao da producao industrial automatizada segundo diagramas e a sua aplicacao aos produtos da arte. A luz de um escrutinio dos transmorfos da arte modernista, particularmente no DADA, revela -se como a arte explorou as coli-soes morfologicas resultantes da com-binacao entre motivos orgânicos, artis340Revista Filosofica de Coimbra — n.o 58 (2020)pp. 337-384Edmundo Balsemao Piresticos tradicionais e industriais para por a comunicacao no centro do fazer artisti-co, desafiar a intencionalidade do autor e potenciar novas situacoes esteticas. O alcance das atitudes reativas perante o moderno, que o descrevem como unidi-mensional e redutor, fica assim limitado. Indo ao encontro das varias dimensoes da remarcacao do mercantil e do artis-tico nos transmorfos da arte conceptual, conclui -se este trabalho com a tese de que a comunicacao artistica, como so-brecodificacao de varios media, tem a faculdade de redimensionar os emisso-res, destinatarios e mensagens, mesmo quando tem lugar em meios de difusao estandardizados ou mercantilizados. EnglishCommon sense gives us a support to believe that the identity of natu-ral living beings is different from the identity of artifacts. Allegedly, the identity of the artifacts relies on the form ascribed to them by their creators and does not come from within, it is not immanent. Usually, a similar distinction between “organized living bodies” and “organized artificial bodies” is taken for granted. By assuming a human constructive act, the artificially organized body receives its organizing prin-ciple and what defines its use from the outside. Works of art are among these objects as well as instruments. In the nineteenth century, some descriptions of manufactures had come to define a machine as an organized body with internal motion, thus mo-tivating the problem of the status of machines among artifacts. It is not surprising that one of the returning problems in current philosophical discussions about tech-nology and art is that of the status of intentional, mental dependence of the artifacts. These discussions have shown that mental dependency cannot be assessed without clarifying the dimension of communication in technical activities. Thus, it can be objected to the authors exclusively concerned with the restricted theme of the inten-tionality of mental dependence, that they have overlooked the communicative orien-tation of production, manual or industrial, and its social destiny. The present study intends to show how the platonic heritage of mimesis, exemplified with the “three beds” of Politeia X, 597 b and fll., although assuming a communitarian, restrictive dimension, of the technical making, is present in the assumptions of some contem-porary theoretical versions on technology, industrial production and art. The notions of the craftsman, as a producer for the community, the artifact and the machine in industry are clarified to identify the contrasts between different historical ways of understanding the technical making and the corresponding semantic and theoreti-cal resonances. Subsequently, the discourse of the cultural criticism, represented in some texts by Walter Benjamin, Theodor Adorno and Herbert Marcuse, is depicted as a conservative theoretical orientation towards the autonomy of modern communi-cation, the expansion of automated industrial production according to diagrams and its application to art. Through a scrutiny of the transmorphs of modernist art, parti-cularly the DADA’s transmorphs, it is explained how contemporary art has explored the morphological collisions resulting from the combination of organic, traditional artistic and industrial motives in order to move communication to the center of the artistic making, challenging the intentionality of the author and developing new aes-thetic situations. The scope of the conservative attitudes towards modernity, which describe it as one -dimensional and reductionist, is thus limited. Meeting the various dimensions of the remarking of the mercantile and the artistic in the transmorphs of conceptual art, I conclude this work with the thesis that artistic communication, as overcoding of various media, has the ability to redesign the senders, recipients and messages, even when it takes place through standardized or commercialized media. francaisLe sens commun nous donne des raisons de croire que l’identite des etres vivants naturels est differente de l’identite des artefacts. Apparem-ment, l’identite des artefacts depend de la forme qui leur est attribuee par leurs createurs et ne vient pas de l’interieur, elle n’est pas immanente. Celle -ci est la distinction qui, en general, est sup-posee entre «corps vivants organises» et «corps artificiels organises». En as-sumant un acte constructif humain, le corps organise artificiellement recoit son principe organisateur et ce qui defi-nit son utilisation de l’exterieur. Les œu-vres d’art font partie de ces objets ainsi que les instruments. Au XIXe siecle, certaines descriptions des manufactures en etaient venues a definir une machine comme un corps organise a mouvement interne, posant ainsi le probleme du sta-tut des machines parmi les artefacts. Il n’est pas surprenant que l’un des problemes recurrents dans les discussions phi-losophiques actuelles sur la technique et l’art soit celui du statut de la dependan-ce mentale intentionnelle a l’egard des artefacts. Ces discussions ont demontre que la dependance mentale ne peut etre evaluee sans clarifier la communication. Ainsi, il peut etre objecte aux auteurs exclusivement concernes par le theme restreint de l’intentionnalite de la depen-dance mentale, l’oubli de l’orientation communicative de la production, ma-nuelle ou industrielle, et sa destinee so-ciale. La presente etude vise a montrer comment l’heritage platonique de la mimesis, illustre par les « trois lits » de Republique X, 597 b et suivs., en sup-posant une dimension communautaire et restreinte de la fabrication technique, est malgre cela perceptible dans les hypotheses de certaines versions theo-riques modernes sur la technologie, la production industrielle et l’art. Les no-tions de l’artisan en tant que producteur pour la communaute, d’artefact et de machine dans l’industrie sont clarifiees afin d’identifier les contrastes entre les differentes modes historiques de com-prendre la fabrication technique et les resonances semantiques et theoriques correspondantes. Ensuite, on caracte-rise le discours de la critique culturel-le, represente dans certains textes par Walter Benjamin, Theodor Adorno et Herbert Marcuse, comme une orien-tation theorique conservatrice concer-nant l’autonomie de la communication moderne, l’expansion de la production industrielle automatisee selon des dia-grammes et son application aux pro-duits de l’art. A la lumiere d’un examen des transmorphes de l’art moderniste, en particulier du DADA, il est revele comment l’art a explore les collisions morphologiques resultant de la combi-naison de motifs organiques, artistiques traditionnels et industriels pour placer la communication au centre de la creation artistique, pour remettre en question l’intentionnalite de l’artiste et autoriser la mise en scene de nouvelles situations esthetiques. Ainsi, on limite la portee des attitudes reactives envers le moderne, qui le decrivent comme unidimension-nel et reducteur. Allant a la rencontre des differentes dimensions de la redefinition du mercantile et de l’artistique dans les transmorphes de l’art conceptuel, nous concluons ce travail avec la these que la communication artistique, en tant que surcodage de divers media, a la capa-cite de redimensionner les destinateurs, les destinataires et les messages, meme lorsqu’elle se deroule sur des supports standardises ou commercialises.
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