Papers by Guilherme Foscolo
PÓS:Revista do Programa de Pós-graduação em Artes da EBA/UFMG, 2024
A partir da greve de roteiristas e atores em Hollywood e da primeira AI Fashion Weekeventos ocorr... more A partir da greve de roteiristas e atores em Hollywood e da primeira AI Fashion Weekeventos ocorridos no ano de 2023-, este artigo investiga o impacto da inteligência artificial (IA) generativa para o trabalho criativo. Para tanto, desmistifica a IA voltando-se para seus elementos constitutivos, descortinando, por um lado, a imensa e multifacetada cadeia de exploração do trabalho humano que se esconde por debaixo do verniz da "inteligência artificial"; e demonstrando, por outro, como a IA depende-para o seu treinamento e funcionamento-da apropriação prévia e indiscriminada de toda a cultura humana disponível online. A conclusão é que a IA, ao se apropriar do trabalho não creditado e não remunerado de gerações de artistas humanos, cumpre a função de desvalorizar-ou substituir completamente-o trabalho criativo especializado.
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Between Automatons and Ghosts: Artificial Intelligence and Creative Work Crisis
In the wake of the writers' and actors' strike in Hollywood and the first AI Fashion Week – events that took place in 2023 – this paper investigates the impact of generative artificial intelligence (AI) on creative work. To this end, it demystifies AI through an analysis of its constituent elements, revealing, on the one hand, the immense and multifaceted chain of exploitation of human labor that lies beneath the veneer of “artificial intelligence”; and demonstrating, on the other, how AI depends – for its training and operation – on the prior and indiscriminate appropriation of all human culture available online. The conclusion is that AI, by appropriating the uncredited and unpaid work of generations of human artists, fulfills the function of devaluing – or completely replacing – specialized creative work.
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Trata-se de pensar o ritmo da modernidade como resultado da dinâmica sociotécnica do Capital. Arg... more Trata-se de pensar o ritmo da modernidade como resultado da dinâmica sociotécnica do Capital. Argumentase que a contínua transformação dos meios de produção e a disseminação de novas tecnologias tornam cada vez mais sintomáticas sensações de aceleração e estagnação-as quais reportam a um mesmo regime de temporalidade, aqui nomeado de "maquínico". Atribui-se à sociotécnica capitalista um efeito específico de programação dos nossos corpos, sensações e percepção. Por fim, propõe-se a análise de Stimmungen como uma ferramenta teórica que poderia facilitar a detecção de respostas estéticas úteis para a caracterização de distintos regimes sociotécnicos/de temporalidade.
This paper explores the rhythm of modernity as an outcome of the sociotechnical dynamics of Capital. It contends that the ongoing transformation of the means of production and the proliferation of new technologies give rise to sensations of acceleration and stagnation – phenomena that can be traced to a shared temporal regime here termed “machinic”. The sociotechnical aspect of Capitalism is acknowledged to have a specific influence on shaping our bodies, sensations, and perception. Furthermore, it proposes the utilization of Stimmungen analysis as a theoretical tool that could facilitate the detection of aesthetic responses useful for characterizing different sociotechnical/temporality regimes.
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Trata-se de refletir sobre a experiência estética nos videogames a partir da fricção d... more Trata-se de refletir sobre a experiência estética nos videogames a partir da fricção de duas polêmicas –a dos videogames como esportes, recentemente reavivada no Brasil pela declaração da Ministra dos Esportes Ana Moser de que ESportsnão são esportes, e a dosvideogames enquanto arte, e que repercutiu entre os anos de 2005-2010 a partir das declarações de Roger Ebert, crítico de cinema do Chicago Sun-Times, de que videogames jamais poderiam ser arte. A sobreposição das polêmicas permite, por um lado, perceber como o problema do estatuto estético dos videogames não se resolve sem uma compreensão daquilo que eles operam, o que nos conduz, em parte, para a discussão do seu estatuto enquanto esportes; por outro, produz a ocasião para investigarmos como os elementos formais dos videogames podem engendrar um tipo específico de experiência estética – e que não se encontra nos esportes “tradicionais” ou mesmo nas performances artísticas. Conceitos tais quais interatividade, agência, praticalidade, virtualidade e disputa/superação ganham relevância a partir da análise da relação que se estabelece entre os elementos formais dos videogames (gráfico, som, enginee user interface), os dispositivos físicos de input/output, e a jogabilidade/experiência dos jogadores.
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The aesthetic experience in videogames
The aim of this paper is to reflect on the aesthetic experience of videogames from the friction between two polemics: that of videogames as sports, recently reignited in Brazil by Sports Minister Ana Moser’s declaration that ESports are not sports, and that of videogames as art, which resonated between the years 2005-2010 from the declarations of Roger Ebert, film critic for the Chicago Sun-Times, that videogames could never be art. The superposition of these polemics allows us, on one hand, to realize how the problem of the aesthetic status of videogames cannot be addressed without an understanding of the way they work, which leads us, in part, to the discussion of their status as sports; on the other hand, it also provides the occasion for investigating how the formal elements of videogames can produce a specific kind of aesthetic experience –one that is not found in “traditional” sports or even in artistic performances. Concepts such as interactivity, agency, practicality, virtuality, and competition/excellence gain relevance from the analysis of the relationship established among the formal elements of videogames (graphics, sound, engine, and user interface), the physical input/output devices, and the gameplay/experience of players.
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Neste ensaio, argumento que a guinada neofascista que levou à presidência Trump nos EUA e Bolsona... more Neste ensaio, argumento que a guinada neofascista que levou à presidência Trump nos EUA e Bolsonaro no Brasil não se faz compreender sem a atividade de um conglomerado de tecnologias digitais – e que, por constituir-se em um sistema autopoiético de retroalimentação positiva, proponho chamarmos fábrica de hiperstição. Proponho também que a dinâmica interna do sistema alterna entre a produção de memes e a de uma metanarrativa. Por fim, apresento dois conceitos – tecnopolítica e tecnopoiesis – que permitem compreender como tais tecnologias, por um lado, atualizam os horizontes socioeconômicos da qual emergem, e, por outro, programam nossas formas de pensar/perceber.
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Hyperstition Factory: Or on How We Have Lost the World
In this essay, I argue that the neo-fascist turn that brought Trump to the presidency in the USA and Bolsonaro in Brazil cannot be understood without the activity of a conglomerate of digital technologies – which, since it constitutes an autopoietic system of positive feedback, I propose we call hyperstition factory. I also propose that the internal dynamics of the system alternates between the production of memes and that of a metanarrative. Finally, I present two concepts – technopolitics and technopoiesis – that allow us to understand how such technologies, on the one hand, update the socioeconomic horizons from which they emerge, and, on the other, program the forms we think/perceive.
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Athenäum Jahrbuch der Friedrich Schlegel-Gesellschaft, 2015
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Kriterion, 2022
This paper is an attempt at connecting the emergence of second order observation in critical phil... more This paper is an attempt at connecting the emergence of second order observation in critical philosophy with the theory of aesthetic autonomy as developed by Early German Romanticism. In outlining the genesis of an autonomous art system from the reception of critical philosophy, my intention is to show how those apparently overly hermeneutical philosophical developments relate to the birth of a system of production and reproduction of artworks, which-as I will argue-are the very materialization of the system's code.
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Viso, 2022
This essay aims at a double goal: reconstructing the problem of how Enlightenment created and sha... more This essay aims at a double goal: reconstructing the problem of how Enlightenment created and sharpened the conceptual weapons that made possible the European colonialist/slaverymachine (reframing thus universal history as a project of universalization of European/colonialist reason); and arguing how black-feminist poetry plays a fundamental anti-colonial role not only in exposing/forcing into review colonialist/racist thought, but also in creating non-totalitarian worlds of possibilities. Mostly, these two poles are put in motion in a non-systematic argumentative movement: our medium of/for reflection are an assembly of Theodor Adorno's philosophy and black-feminist poetry and thought. The analyses of Brazilian black-feminist inventions-particularly, Conceição Evaristo's concept of "escrevivência", Priscila Rezende's Bombril (2010) performance and Tamara Franklin's videoclip for Wakanda (2019)-is meant to allow for an innovative take on Adorno's concept of art as social monad, which will be revisited in view of the key-concepts of technopolitics/technopoiesis.
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Athenäum Jahrbuch der Friedrich Schlegel-Gesellschaft, 2019
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Este ensaio pretende investigar ate que ponto o recurso a Estetica em Kant contribui para com a r... more Este ensaio pretende investigar ate que ponto o recurso a Estetica em Kant contribui para com a reflexao sobre esportes e experiencia estetica inaugurada por Gumbrecht em Elogio da Beleza Atletica . Para tanto, serao friccionados o movimento do pensamento em Kant e em Gumbrecht (no que aparentemente se repelem) e, em seguida, sera tracado um paralelo entre o esforco de Gumbrecht para uma “estetica dos esportes” e a producao teorica do critico de arte estadunidense Clement Greenberg. Conclui-se que Kant serve melhor ao purismo de um Greenberg do que ao pensamento contra-hermeneutico de Gumbrecht.
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Trata-se de uma apresentacao da professora e cineasta Bernadette Wegenstein, acompanhada da tradu... more Trata-se de uma apresentacao da professora e cineasta Bernadette Wegenstein, acompanhada da traducao de um texto e entrevista.
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Resumo: Trata-se de recuperar a subterrânea influencia de Marx na producao teorica que se movimen... more Resumo: Trata-se de recuperar a subterrânea influencia de Marx na producao teorica que se movimenta a partir do coloquio “Materialidades da Comunicacao”. Argumenta-se que o coloquio “Materialidades da Comunicacao”, na tentativa de revisitar o conceito marxiano de materialismo, produziu uma versao “de-marxializada” da materialidade como alternativa (e reacao) aos excessos de uma cultura pos-moderna da interpretacao. No entanto, a de-marxializacao do conceito significou, em ultima instância, esvazia-lo de sua critica politica, fazendo dele uma ferramenta politicamente inocua. Sugere-se, por fim, que reconectar o conceito de materialidade a sua origem critica abre toda uma gama de possiveis investigacoes.
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RelevO, 2020
Artigo para a RelevO -- diálogo entre Adorno, Audre Lorde e Conceição Evaristo.
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RelevO, 2020
Tradução de texto de Hans Ulrich Gumbrecht
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RelevO - Edição Especial Crítica Literária, 2019
Artigo para a RelevO -- Especial Crítica Literária
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Athenaeum, 2019
Book review: "A invenção da modernidade literária", Constantino Luz de Medeiros, Jahrbuch Athenae... more Book review: "A invenção da modernidade literária", Constantino Luz de Medeiros, Jahrbuch Athenaeum
Resenha do livro "A invenção da modernidade literária", de Constantino Luz de Medeiros, para a revista Athenaeum.
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Revista Barda, 2019
Se trata de desplegar, a partir del concepto de materialismo en Marx y su recepción en la histori... more Se trata de desplegar, a partir del concepto de materialismo en Marx y su recepción en la historia reciente de cierta tradición académica occidental, los conceptos de Tecnopolítica y Tecnopoética.
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The text intends to unfold, from the Marxian concept of materialism and its reception in the recent history of a certain Western academic tradition, the concepts of Technopolitics and Technopoetics.
http://www.cefc.org.ar/revista/index.php/history-2/
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ARTEFILOSOFIA, 2018
This is an attempt at recovering Marx’s subterranean influence in the theoretical developments of... more This is an attempt at recovering Marx’s subterranean influence in the theoretical developments of the “Materialities of Communication” colloquium. It is argued that the colloquium “Materialities of Communication”, in revisiting the Marxian concept of materialism, produced a “de-marxialized” version of materiality as an alternative (and
reaction) to the excesses of the postmodern culture of interpretation. However, the demarxialization of the concept ultimately meant depriving it of its political critique, making of it a politically innocuous tool. Lastly, it is suggested that rewiring the concept of materiality with its critical origin opens up a whole range of possible investigations.
Keywords: Materiality; Marx; Gumbrecht; Kittler; Technopolitics.
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Trata-se de recuperar a subterrânea influência de Marx na produção teórica que se movimenta a partir do colóquio “Materialidades da comunicação”. Argumenta-se que o colóquio “Materialidades da comunicação”, na tentativa de revisitar o conceito marxiano de materialismo, produziu uma versão “de-marxializada” da materialidade como alternativa (e reação) aos excessos de uma cultura pós-moderna da interpretação. No entanto, a demarxialização do conceito significou, em última instância, esvaziá-lo de sua crítica política, fazendo dele uma ferramenta politicamente inócua. Sugere-se, por fim, que reconectar o conceito de materialidade à sua origem crítica abre toda uma gama de possíveis investigações.
Palavras-chave: Materialidade; Marx; Gumbrecht; Kittler; Tecnopolítica.
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Trata-se de uma apresentação da professora e cineasta Bernadette Wegenstein, acompanhada da tradu... more Trata-se de uma apresentação da professora e cineasta Bernadette Wegenstein, acompanhada da tradução de um texto e entrevista.
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This paper consists of an introduction of professor and filmmaker Bernadette Wegenstein, the translation of an article and an original interview.
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O artigo faz uma leitura da recusa da Mesa Diretora do Senado em cumprir a decisão liminar do min... more O artigo faz uma leitura da recusa da Mesa Diretora do Senado em cumprir a decisão liminar do ministro do STF Marco Aurélio Mello, que pedia o afastamento do Presidente do Senado Federal, o Senador Renan Calheiros, em 06 de dezembro de 2016.
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Papers by Guilherme Foscolo
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Between Automatons and Ghosts: Artificial Intelligence and Creative Work Crisis
In the wake of the writers' and actors' strike in Hollywood and the first AI Fashion Week – events that took place in 2023 – this paper investigates the impact of generative artificial intelligence (AI) on creative work. To this end, it demystifies AI through an analysis of its constituent elements, revealing, on the one hand, the immense and multifaceted chain of exploitation of human labor that lies beneath the veneer of “artificial intelligence”; and demonstrating, on the other, how AI depends – for its training and operation – on the prior and indiscriminate appropriation of all human culture available online. The conclusion is that AI, by appropriating the uncredited and unpaid work of generations of human artists, fulfills the function of devaluing – or completely replacing – specialized creative work.
This paper explores the rhythm of modernity as an outcome of the sociotechnical dynamics of Capital. It contends that the ongoing transformation of the means of production and the proliferation of new technologies give rise to sensations of acceleration and stagnation – phenomena that can be traced to a shared temporal regime here termed “machinic”. The sociotechnical aspect of Capitalism is acknowledged to have a specific influence on shaping our bodies, sensations, and perception. Furthermore, it proposes the utilization of Stimmungen analysis as a theoretical tool that could facilitate the detection of aesthetic responses useful for characterizing different sociotechnical/temporality regimes.
* * *
The aesthetic experience in videogames
The aim of this paper is to reflect on the aesthetic experience of videogames from the friction between two polemics: that of videogames as sports, recently reignited in Brazil by Sports Minister Ana Moser’s declaration that ESports are not sports, and that of videogames as art, which resonated between the years 2005-2010 from the declarations of Roger Ebert, film critic for the Chicago Sun-Times, that videogames could never be art. The superposition of these polemics allows us, on one hand, to realize how the problem of the aesthetic status of videogames cannot be addressed without an understanding of the way they work, which leads us, in part, to the discussion of their status as sports; on the other hand, it also provides the occasion for investigating how the formal elements of videogames can produce a specific kind of aesthetic experience –one that is not found in “traditional” sports or even in artistic performances. Concepts such as interactivity, agency, practicality, virtuality, and competition/excellence gain relevance from the analysis of the relationship established among the formal elements of videogames (graphics, sound, engine, and user interface), the physical input/output devices, and the gameplay/experience of players.
* * *
Hyperstition Factory: Or on How We Have Lost the World
In this essay, I argue that the neo-fascist turn that brought Trump to the presidency in the USA and Bolsonaro in Brazil cannot be understood without the activity of a conglomerate of digital technologies – which, since it constitutes an autopoietic system of positive feedback, I propose we call hyperstition factory. I also propose that the internal dynamics of the system alternates between the production of memes and that of a metanarrative. Finally, I present two concepts – technopolitics and technopoiesis – that allow us to understand how such technologies, on the one hand, update the socioeconomic horizons from which they emerge, and, on the other, program the forms we think/perceive.
Resenha do livro "A invenção da modernidade literária", de Constantino Luz de Medeiros, para a revista Athenaeum.
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The text intends to unfold, from the Marxian concept of materialism and its reception in the recent history of a certain Western academic tradition, the concepts of Technopolitics and Technopoetics.
http://www.cefc.org.ar/revista/index.php/history-2/
reaction) to the excesses of the postmodern culture of interpretation. However, the demarxialization of the concept ultimately meant depriving it of its political critique, making of it a politically innocuous tool. Lastly, it is suggested that rewiring the concept of materiality with its critical origin opens up a whole range of possible investigations.
Keywords: Materiality; Marx; Gumbrecht; Kittler; Technopolitics.
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Trata-se de recuperar a subterrânea influência de Marx na produção teórica que se movimenta a partir do colóquio “Materialidades da comunicação”. Argumenta-se que o colóquio “Materialidades da comunicação”, na tentativa de revisitar o conceito marxiano de materialismo, produziu uma versão “de-marxializada” da materialidade como alternativa (e reação) aos excessos de uma cultura pós-moderna da interpretação. No entanto, a demarxialização do conceito significou, em última instância, esvaziá-lo de sua crítica política, fazendo dele uma ferramenta politicamente inócua. Sugere-se, por fim, que reconectar o conceito de materialidade à sua origem crítica abre toda uma gama de possíveis investigações.
Palavras-chave: Materialidade; Marx; Gumbrecht; Kittler; Tecnopolítica.
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This paper consists of an introduction of professor and filmmaker Bernadette Wegenstein, the translation of an article and an original interview.
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Between Automatons and Ghosts: Artificial Intelligence and Creative Work Crisis
In the wake of the writers' and actors' strike in Hollywood and the first AI Fashion Week – events that took place in 2023 – this paper investigates the impact of generative artificial intelligence (AI) on creative work. To this end, it demystifies AI through an analysis of its constituent elements, revealing, on the one hand, the immense and multifaceted chain of exploitation of human labor that lies beneath the veneer of “artificial intelligence”; and demonstrating, on the other, how AI depends – for its training and operation – on the prior and indiscriminate appropriation of all human culture available online. The conclusion is that AI, by appropriating the uncredited and unpaid work of generations of human artists, fulfills the function of devaluing – or completely replacing – specialized creative work.
This paper explores the rhythm of modernity as an outcome of the sociotechnical dynamics of Capital. It contends that the ongoing transformation of the means of production and the proliferation of new technologies give rise to sensations of acceleration and stagnation – phenomena that can be traced to a shared temporal regime here termed “machinic”. The sociotechnical aspect of Capitalism is acknowledged to have a specific influence on shaping our bodies, sensations, and perception. Furthermore, it proposes the utilization of Stimmungen analysis as a theoretical tool that could facilitate the detection of aesthetic responses useful for characterizing different sociotechnical/temporality regimes.
* * *
The aesthetic experience in videogames
The aim of this paper is to reflect on the aesthetic experience of videogames from the friction between two polemics: that of videogames as sports, recently reignited in Brazil by Sports Minister Ana Moser’s declaration that ESports are not sports, and that of videogames as art, which resonated between the years 2005-2010 from the declarations of Roger Ebert, film critic for the Chicago Sun-Times, that videogames could never be art. The superposition of these polemics allows us, on one hand, to realize how the problem of the aesthetic status of videogames cannot be addressed without an understanding of the way they work, which leads us, in part, to the discussion of their status as sports; on the other hand, it also provides the occasion for investigating how the formal elements of videogames can produce a specific kind of aesthetic experience –one that is not found in “traditional” sports or even in artistic performances. Concepts such as interactivity, agency, practicality, virtuality, and competition/excellence gain relevance from the analysis of the relationship established among the formal elements of videogames (graphics, sound, engine, and user interface), the physical input/output devices, and the gameplay/experience of players.
* * *
Hyperstition Factory: Or on How We Have Lost the World
In this essay, I argue that the neo-fascist turn that brought Trump to the presidency in the USA and Bolsonaro in Brazil cannot be understood without the activity of a conglomerate of digital technologies – which, since it constitutes an autopoietic system of positive feedback, I propose we call hyperstition factory. I also propose that the internal dynamics of the system alternates between the production of memes and that of a metanarrative. Finally, I present two concepts – technopolitics and technopoiesis – that allow us to understand how such technologies, on the one hand, update the socioeconomic horizons from which they emerge, and, on the other, program the forms we think/perceive.
Resenha do livro "A invenção da modernidade literária", de Constantino Luz de Medeiros, para a revista Athenaeum.
* * *
The text intends to unfold, from the Marxian concept of materialism and its reception in the recent history of a certain Western academic tradition, the concepts of Technopolitics and Technopoetics.
http://www.cefc.org.ar/revista/index.php/history-2/
reaction) to the excesses of the postmodern culture of interpretation. However, the demarxialization of the concept ultimately meant depriving it of its political critique, making of it a politically innocuous tool. Lastly, it is suggested that rewiring the concept of materiality with its critical origin opens up a whole range of possible investigations.
Keywords: Materiality; Marx; Gumbrecht; Kittler; Technopolitics.
* * *
Trata-se de recuperar a subterrânea influência de Marx na produção teórica que se movimenta a partir do colóquio “Materialidades da comunicação”. Argumenta-se que o colóquio “Materialidades da comunicação”, na tentativa de revisitar o conceito marxiano de materialismo, produziu uma versão “de-marxializada” da materialidade como alternativa (e reação) aos excessos de uma cultura pós-moderna da interpretação. No entanto, a demarxialização do conceito significou, em última instância, esvaziá-lo de sua crítica política, fazendo dele uma ferramenta politicamente inócua. Sugere-se, por fim, que reconectar o conceito de materialidade à sua origem crítica abre toda uma gama de possíveis investigações.
Palavras-chave: Materialidade; Marx; Gumbrecht; Kittler; Tecnopolítica.
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This paper consists of an introduction of professor and filmmaker Bernadette Wegenstein, the translation of an article and an original interview.
A presente dissertação tem por objetivo analisar a relação estabelecida por Friedrich Schlegel entre filosofia e poesia – tema desenvolvido pelo autor, principalmente, ao longo dos fragmentos e textos publicados nas revistas Lyceum der schönen Künste (1797) e Athenäum (1798-1800). Compreender em que medida filosofia e poesia se interpenetram nos primeiros escritos do Frühromantik é condição fundamental para entender vários aspectos da filosofia de Schlegel – em específico, a dissertação pretende demonstrar, a partir daí, como a opção pela forma aparentemente assistemática dos fragmentos oculta um impulso pelo seu contrário: pela única sistematização ainda possível.