Band 2023, Heft 254 - Special Issue: Inhuman horizons of semiotics and subjectivity; Guest Editors: Martin Švantner and Ondřej Váša

The main theme of the article, which by genre falls into the area of semiotically influenced philosophy, is a reflection on the relationship between the human and the non-human, using two partial but parallel discourses. The first discourse is the perspective of general semiotics, which is defined in the article on the basis of two distinct forms of rationality that, in different guises, still intervene in debates about the nature of the humanities and social sciences today. The first form of this rationality is semiological, which can be classified under the encyclopaedic rubric of structuralism, and which has its main source of inspiration in general linguistics and its continuation in philosophical anti-humanism. The second perspective has its origins in Peirce’s logicist theory of the sign and his pragmatist metaphysics, and opens up thinking about the sign, the human, and the non-human to a non-language-centric view of the world. Despite their demonstrable theoretical and methodological incompatibility, the present text treats them as incompatible but largely complementary perspectives. It is in their mutual exposition that one can see the moments in which the view of modern human as a semiological and semiotic animal takes shape. The text brings this fundamental and founding theoretical schism into focus by examining two images from post/modern art: Ted Chiang’s “The Great Silence” and Jorge Luis Borges’ “Averroës’s Search.”

Since 2007, Tomás Saraceno has been developing a project that aims to break out of the anthropocentric understanding of communication and coexistence with other animal organisms. In this article, I point out the importance of using modern visualization technologies to analyze and investigate the structure of communication frameworks and their modalities in the animal world, specifically using the example of spiders. The visualization of what is normally invisible to the eye and inaudible to the ear rearticulates the realm of the visible and the audible, which Saraceno then uses for art-critical purposes, with the aim of forming a new type of posthuman attunement to the environment and other animal species. The condition for outlining and articulating Saraceno’s artistic vision is the use of the latest technologies of visualization, which operate on the principle of digital and algorithmic code. They synthesize different planes of affectivity and transform, modulate, and combine the different modes of signs into a single technical-organic complex: they offer new ways of seeing and feeling the world. Thus, hybrid ecology in Saraceno’s case does not imply a return to primordial ways of life, but on the contrary, it forms a semiosphere attuned to a specific plane of consistency that enfolds distinct modes of signs and develops them into an expression of hitherto unsuspected variants of life.

This essay contextualizes the Dantean figure of Ulysses, as conceived by Yuri M. Lotman, and draws this key figure of modernity into a network of mutually interconnected discourses: primarily transhumanist visions of the human future in space, which nevertheless arise from the specifically modern epistemic dimension of “restlessness,” and intertwine with post-war astronautics, cyborg visions of human re-engineering, and revolutionary considerations of speculative realism. The key is Lotman’s emphasis on Ulysses as a figure of “energy of thought”; in this regard, the essay shows how the original poetic “decision,” embodied by the Ulysses figure, advocates implicit cruelty in the name of the future (treated as an inevitable fate), and how this decision generates a logical and progressively unfolding series of “inhuman” images of man situated in the universe as an event of saturation of matter with merciless intelligence.

The core of the study is a critical comparison of Nietzsche’s notion of Übermensch , and its transhumanist rewriting into different variants of the posthuman. The first part contextualizes transhumanist thought, primarily in relation to certain evolutionary ideas that, in their totality, exhibit a fundamental anthropological deficit: they speak of the evolutionary overcoming of human, but the limit of sensibility that attempts to imagine a future human being is only the mere negation of what human has been so far. In this way, the posthuman is not removed from the somewhat vague context of the technological “extension” of previous humanity. In this respect, the whole concept is grossly unaesthetic. The second part shows that Nietzsche’s rethinking of the overhuman was intertwined with other anthropological structures, for example, the idea of Mitfreude (‘shared joy’), which is supposed to creatively (in the manner of art) replace the morally misleading notion of compassion. The Übermensch therefore enabled Nietzsche to propose a different conception of intersubjectivity; one that would no longer be reduced to contempt for the human being. The third section traces the causes of the transhumanist failure in productive imagination. It is based on the hypothesis that this failure is driven by an unconscious preference for the figure of the comic book Superman. It postulates, through a Kantian conception of the sublime, that an adequate elaboration of the image of the posthuman cannot do without an affective component that would allow for Bejahung (‘affirmation’). Only the artificial will always appear, to some degree, as alien, and therefore will never transcend the limits of reactive adaptation. A living posthuman could only emerge if he offered anthropological techniques of the art of living. Therefore, transhumanism continuously raises anthropological questions, especially regarding the problem of the extent to which the artificiality of art can be identified with technology. Without proper answers, it will not achieve the complexity of Nietzsche’s overhuman, and will always only dilute him into technological supplements. The posthuman will come into being when he is conceived as a grandiose work of art.

In four major parts, this study investigates the phenomenon of scrolling. Its first task is to argue in favor of a specific quality of the experience of scrolling, distinguishing it from other forms of distraction, notably from the flow experience. Scrolling takes the shape of aimless drifting. Secondly, it investigates the phenomenon of scrolling against its relevant historical, economic, social, and cultural backdrop, with the intention of understanding scrolling as a typical phenomenon of today, rather than subscribing to a biased and superficial critique of its wastefulness or outright pathological character. The third part presents a comprehensive analysis of the temporal makeup of scrolling. Its temporality is expressed in the specific impatience of scrolling. Furthermore, scrolling amounts to a temporal reduction in the sense of favoring the present moment (and suppressing the temporal dimensions of the past and the future). The reductiveness of scrolling pertains to the semantic content as well. I argue that scrolling does not allow for certain experiences (such as, e.g., profound sadness). The temporality of scrolling is one of experiencing lived time as the permanence of passing. In the last section, I connect scrolling to boredom, and argue that scrolling accomplishes the task of allowing for an existential distractedness. In conclusion, I propose a nuanced evaluation of scrolling: in a Pascalian sense, scrolling responds to a profoundly human need of distraction. Yet I find scrolling dangerous in how easily available such distraction becomes, and in how it accustoms the users to a reductive existential experience. Scrolling, unlike art (but also, in principle, photography, movies, books), shields the user from challenging and enriching experiences.

The most successful games today do not use a pay-for-product model, but involve complex and aggressive modes of monetizing their content (downloadable content, skins, in game currencies and markets, seasonal passes, etc.). While this has already been scrutinized, there are further consequences for games themselves and the economization of play. In my paper, I show how this strategy creates a conceptually novel situation, where playing can be considered to constitute reproductive labor-power and behavioral capital. In other words, playing here represents not only consumption but also the very production of such consumption, insofar as the main reason behind the massive success of these games is precisely their massive pool of players and data concerning their activity. Firstly, I analyse PUBG: Battlegrounds as an example of the most successful model of monetizing games and maintaining a large number of players and interaction. I focus both on the economic incentives as well as on the gameplay that is generated or tailored towards aggressive monetization. Later, I set a theoretical context for my analysis stemming from ludocapitalist discourse (itself combining Marx with poststructuralism) and the concept of surveillance capitalism. I conclude my text with a systematization and definition of my original concept of behavioral capital and an attempt to formulate art critique and usage of games as a form of cultural production exposing several examples from contemporary art.

This text deals with convergence and divergence in relation to the formation of images of inhumanity in Slovak Roma settlements. Slovak media, social networks, and television reports often contain negative images emphasizing the Roma’s backwardness, irrationality, superstition, and cruelty, and aiming to highlight their inhumanity. This approach has become prevalent even among official state authorities such as the police of the Slovak Republic, shaping the perception of the Roma as monsters. It represents a mobilization strategy that connects and disconnects various disciplinary apparatuses, forming concrete images of monsters. By examining moments of convergence and divergence, which mainly focus on the killing and consumption of canines, the text clarifies the social and material ordering that contributes to the particular arrangement of significance used by the Slovak media and other officials.