Electroshocked techno-narcissism
##plugins.themes.bootstrap3.article.main##
##plugins.themes.bootstrap3.article.sidebar##
Abstract
The words are exhausted. They have mutated. But their fury is closer to a background noise than a contingent of new meanings. A crisis of sense, a plot twist arisen in the mid-nineties known as storytelling. A control and power technique whose narratives sneak even into dictionaries. This would explain the second entry for the term 'hacker' as it appears in the dictionary of the Royal Spanish Academy. Irony and cynicism seem to have lead us to a state of precariousness, acceptation and resignation in the 21st century, caused by the logic of the market that ends up engulfing any act of rebellion. Dystopias wove the collective imagination of the 20th century, warned us about what was yet to come, but we are still responsible. The relationship we establish with technology is more like that of a parasite that generates tonnes of electronic waste thanks to obsolescence. Perhaps, before we are able to hack the system, we might have to hack ourselves. It is time to honour the commitment and end radioactive positivism. We are not innocent users. We need self-criticism, not manifestos or survival manuals. We live in the digital age and there is nobody who can be free of paradoxes, but the apocalypse is not about to come. We must stop encouraging everyone to disband and continue the innumerable acts of resistance, insignificant as they may seem, for we do not know what their transcendence will be. The tyranny of the 'easy to use' and immediate gratification are just dissuasive tactics that are taking us into the dump and toward boredom. I am not a hacker—a demoscener, if anything. Manual skill (craft) and imagination are the basic tools in the dialogue with technology and the battle against the electroshocked techno-narcissism that invades us.
How to Cite
##plugins.themes.bootstrap3.article.details##
DEMOSCENE, STORYTELLING, DYSTOPIA, OBSOLESCENCE, NARCISSISM, TECHNOLOGY
Alvarez, Maximillian. 2018. "The death of media". Thebaffler.com. https://thebaffler.com/the-poverty-of-theory/the-death-of-media
Barbrook, Richard & Pit Schultz. 1997. "Digital artisans manifesto". European Digital Artisans Network. http://www.hrc.wmin.ac.uk/theory-digitalartisansmanifesto.html
Berardi, Franco "Bifo". 2017. Fenomenología del fin: Sensibilidad y mutación conectiva. Traducción, Alejandra López Gabrielidis. Buenos Aires: Caja Negra
Berners-Lee, Tim. 2017. "Actúa ahora para salvar la internet como la conocemos". Eldiario.es, 13 dic. Traducido por Lucía Balducci. www.eldiario.es/tribunaabierta/Actua-ahora-salvar-internet-conocemos_6_718188178.html
Borzyskowski, George. 2000. "The hacker demo scene and its cultural artifacts". Scheib.net, web personal deVincent Scheib. http://www.scheib.net/play/demos/what/borzyskowski/
Chomsky, Noam. 2017. Requiem for the American Dream: The principles of concentration of wealth and power. Edited by Peter Hutchinson, Kelly Nyks & Jared P. Scott. New York: Seven Stories
Comité Invisible. 2015. A nuestros amigos. Traducción del francés de Vicente E. Barbarroja, León A. Barrera & Ricardo I. Fiori. Logroño: Pepitas de Calabaza
Curtis, Adam. 2016. Hypernormalisation. Documental BBC, Vídeo de Youtube, 2:40:28. https://www.youtube.com/watch?v=-fny99f8amM
Fleischer, Rasmus. 2009. Det postdigitala manifestet: Hur musik äger rum. Stockholm: Ink
Fontcuberta Villà, Joan. 2017. La furia de las imágenes: Notas sobre la postfotografía. Barcelona: Galaxia Gutenberg
Gabrys, Jennifer. 2011. Digital rubbish: A natural history of electronics. Ann Arbor MI: University of Michigan
Haraway, Donna Jeanne. 1995. Ciencia, cyborgs y mujeres: La reinvención de la naturaleza. Prólogo a la edición española de Jorge Arditi, Fernando García Selgas y Jackie Orr; traducción de Manuel Talens. Madrid: Cátedra
Hess, Amanda & Shane O'Neill. 2018. "Why sexy robots are taking over the Internet". New York Times, Internetting with Amanda Hess. https://nyti.ms/2mPGR5Q
Hutchison, Peter D., Kelly Nyks, Jared P. Scott, dirs. 2015. Requiem for the American Dream. Documental sobre el ideario de Noam Chomsky. FilmRise, 1:13:00
Huxley, Aldoux. (1936) 2000. Un mundo feliz. Traducción de Ramón Hernández. Barcelona: Debolsillo
Lasch, Christopher. (1979) 1999. La cultura del narcisismo. Traducción de Jaime Collyer. Barcelona: Andrés Bello
Le Guin, Ursula K. (1969) 2007. La mano izquierda de la oscuridad. Traducción de Francisco Abelenda. Barcelona: Minotauro
London, Bernard. 1932. Ending the depression through planned obsolescence. New York: impreso por el autor
Manovich, Lev. 2013. El software toma el mando. Traducción a cargo de Yannick García Porres. Barcelona: UOC
McLuhan, Marshall. (1964) 2009. Comprender los medios de comunicación: Las extensiones del ser humano. Traducción de Patrick Ducher. Barcelona: Paidós
Millán, Víctor. 2018. "Tristan Harris, el filósofo de Google que quiere 'liberarnos' de nuestro smartphone". Hipertextual.com, 17 feb. https://hipertextual.com/2018/02/tristan-harris-filosofo-google-que-quiere-liberarnos-nuestro-smartphone
Niebisch, Arndt. 2012. Media parasites in the early avant-garde: On the abuse of technology and communication. Basingstoke UK: Palgrave Macmillan
Nyírik, Kristóf. 2010. "El final de la comunicación alienada". En Ontología de la distancia: Filosofías de la comunicación en la era telemática. Beat Wyss et al.; Gabriel Aranzueque, ed. Madrid: Abada
Salmon, Christian, Miguel Roig & Inés Bértolo Fernández. 2016. Storytelling: La máquina de fabricar historias y formatear las mentes. Barcelona: Península
Svendsen, Lars Fr. H. 2008. Filosofía del tedio. Traducción del noruego de Carmen Montes Cano. Barcelona: Tusquets
Virilio, Paul. (1989) 1994. The vision machine. Bloomington, IN: Indiana University
Virilio, Paul. (1991) 2003. Estética de la desaparición. Traducción Noni Benegas. Barcelona: Anagrama
Zerzan, John & Alice Carnes, eds. (1988) 1991. Questioning technology: Tool, toy or tyrant? Philadelphia PA: New Society
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Attribution-ShareAlike 4.0 International (CC BY-SA 4.0)
You are free to:
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material
- for any purpose, even commercially.