Alien Phenomenology, or What It's Like to Be a Thing by Ian Bogost

Nonfiction 1

By Ian Bogost

Humanity has sat on the heart of philosophical considering for too lengthy. the new introduction of environmental philosophy and posthuman experiences has widened our scope of inquiry to incorporate ecosystems, animals, and synthetic intelligence. but nearly all of the stuff in our universe, or even in our lives, is still past critical philosophical concern.

In Alien Phenomenology, or What It’s wish to Be something, Ian Bogost develops an object-oriented ontology that places issues on the heart of being—a philosophy during which not anything exists any longer or under the rest, during which people are parts yet no longer the only or maybe fundamental components of philosophical curiosity. and in contrast to experimental phenomenology or the philosophy of know-how, Bogost’s alien phenomenology takes with no consideration that each one beings engage with and understand each other. This adventure, although, withdraws from human comprehension and turns into obtainable simply via a speculative philosophy in response to metaphor.

Providing a brand new process for knowing the adventure of items as issues, Bogost additionally calls on philosophers to reconsider their craft. Drawing on his personal heritage as a videogame clothier, Bogost encourages expert thinkers to develop into makers besides, engineers who build issues up to they suspect and write approximately them.

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One such effort can be found in François Blanciak’s speculative, paradigmatic architectural theory Siteless. In a series of 1,001 rectilin- [ 46 ] Ontography ear sketches, all drawn freehand “for the sake of versatility,” Blanciak offers a hypothetical account of abstracted interedifice relations as they might exist in some hypothetical alien cityscape. The forms are all identical in size, with no sense of scale to distinguish office tower from iron sculpture from garden slug. Within each, he suggests (but does not clarify) formal, material, aesthetic, and representational implications of hypothetical structures.

But ontographically speaking, this image tells us nothing about the perception of milk on plastic, seed on bun. It simply catalogs, like the monk’s bestiary, exemplifying the ways that human intervention can never entirely contain the mysterious alien worlds of objects. Like painting, photography usually operates on the temporal scale of now. The landscape or the still life shows the corporeal arrangements of things, arrested before human perception. But Shore’s work rejects the singularity of the now in favor of the infinity of the meanwhile.

In his 1988 book The World View of Contemporary Physics, Richard F. ”3 Kinematics, transformation theory, and relativity offer examples, ideas not so far from Harman’s back-of-the-napkin sketch of Professor Parkins. ”4 Other sources, if perhaps a bit untrustworthy, suggest that despite its obscurity ontography very much (and very aptly) exists. ”6 This take on ontography may be laced with too much correlationism to take root in my garden, but it does sow a promising seed. 9 Kitchener’s, Davis’s, and Kuhn’s approaches have something in common: an interest in diversity and specificity.

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