The Aesthetics of Hyperobjects: Representations of Global Warming and the Archive of the Anthropocene
Andrzej Marzec
martius@amu.edu.plAdam Mickiewicz University in Poznan (Poland)
https://orcid.org/0000-0002-9259-2642
Abstract
The author inquires about the aesthetics of hyperobjects and their visual representations in contemporary cinema. From the perspective of the Anthropocene, the most interesting hyperobject for him is global warming, and he finds its extensive representation in Impression météo (dir. Nicolas Carrier, Marie Ouazzani, 2019). Interpreting the film image of French artists, he focuses on presenting specific features of hyperobjects found in Timothy Morton’s work: viscosity, nonlocality, temporal undulation, interobjectivity, and phasing. The author demonstrates that contemporary film art has much more to offer than the commonly available scientific images of global warming. He explains the difference between intersubjectivity and interobjectivity by showing that thanks to the category of interobjectivity, we can think about the archive of the Anthropocene.
Keywords:
hyperobjects, object-oriented ontology, global warming, climate disaster, ecologyReferences
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Authors
Andrzej Marzecmartius@amu.edu.pl
Adam Mickiewicz University in Poznan Poland
https://orcid.org/0000-0002-9259-2642
PhD, philosopher, film critic, editor of Czas Kultury journal, vloger of Widma Marca. His research interests focus on object-oriented ontology, post-digital aesthetics, and contemporary alternative cinema. Author of the book Widmontologia. Teoria filozoficzna i praktyka artystyczna ponowoczesności [Hauntology: The Philosophical Theories and Artistic Practices of Postmodernity] (2015). He is trying to find the answer to the question why the contemporary culture is so nostalgic, and he is unable to free himself from remembering his past. He is attracted to visual arts, experimental cinema, and a vision of ecology that one can think about without using the concept of “nature”.
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