Cybernetics for the Twenty-First Century: An Interview with Philosopher Yuk Hui (2019) Geert Lovink. Hui sees the technological dominance of the Global West coming to an end and turns to models found in Chinese philosophy that aren’t rooted on a binary division between nature/culture.

We live in an age of neo-mechanism, in which technical objects are becoming organic. […] Being mechanistic doesn’t necessarily mean being related to machines; rather, it refers to machines that are built on linear causality, for example clocks, or thermodynamic machines like the steam engine.

[…] evolution is creative, since it is fundamentally organological in the sense that evolution is also a process in which human beings are obliged to constantly create new organs (e.g., figures), while not being blinded by them, i.e., by not regarding them as the totality of reality. Mechanism wants to explain life, without realizing that it is only a
phase of life, e.g., a figure.

On the surface, transhumanism seems to want to get rid of the concept of the human. However, this gesture is only camouflage. Transhumanism is a quintessentially humanist approach to the world, since all is captured within a metaphysical gaze

Huis talk What Begins After the End of Enlightenment? (2018) for e-flux is great. He argues that accelerationism is an direct continuation of enlightenment philosophy and identifies recent AI hype as a desire for a sublime man-made intelligence, trough which (western) men hope to transcendent themselves. He looks at technology as philosophy, referencing Heidegger and wants to find an alternatives to the prevailing (western) ethno- and technofuturism from “cosmotechics”. To achieve this he asks us to identify the locality of our technological thought. I think he’s talking about crafts.

I’ve been reading The Question Concerning Technology in China (2019) Yuk Hui. It builds thoroughly articulated links between Chinese and Western philosophy. Almost like an anthology. Tim Ingold is mentioned frequently. Hui is the philosopher cited in Ural Industrial Biennial catalogue by curator Xiaoyu Weng. Works in the exhibition feel almost like illustrations to this book.

In Chinese cosmology, one finds a sense other than vision, hearing, and touch. It is called Ganying, literally meaning ‘feeling’ and ‘response’, and is often […] understood as ‘correlative thinking’. I prefer to call it resonance […] It yields a ‘moral sentiment’ and further, a ‘moral obligation’ (in social and political terms) which is not solely the product of subjective contemplation, but rather emerges from the resonance between the Heaven and the human, since the Heaven is the ground of the moral.

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