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
Barad, K. (2012). Posthumanistyczna performatywność: ku zrozumieniu, jak materia zaczyna mieć znaczenie (tłum. J. Bednarek). W: A. Gajewska (red.), Teorie wywrotowe (wyd. 1, ss. 323-360). Poznań: Wydawnictwo Poznańskie.
Google Scholar
Brach-Czaina, J. (1992). Szczeliny istnienia. Warszawa: Państwowy Instytut Wydawniczy.
Google Scholar
Domańska, E. (2017). Nekros. Wprowadzenie do ontologii martwego ciała. Warszawa: Wydawnictwo Naukowe PWN.
Google Scholar
Harman, G. (2012). O przyczynowości zastępczej (tłum. M. Rychter). Kronos, (1), ss. 31-47.
Google Scholar
Harman, G. (2013). Traktat o przedmiotach (tłum. M. Rychter). Warszawa: Wydawnictwo Naukowe PWN.
Google Scholar
Harman, G. (2017). Object-Oriented Ontology: A New Theory of Everything. London: Penguin Random House UK.
Google Scholar
Marzec, A. (2021). Antropocień. Filozofia i estetyka po końcu świata. Warszawa: Wydawnictwo Naukowe PWN.
Google Scholar
Meillassoux, Q. (2015). Po skończoności. Esej o koniecznej przygodności (tłum. P Herbich). Warszawa: Fundacja Augusta hrabiego Cieszkowskiego.
Google Scholar
Morton, T. (2013). Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis London: University of Minnesota Press.
Google Scholar
Morton, T. (2013). Realist Magic: Objects, Ontology, Causality. Ann Arbor: Open Humanities Press.
DOI: https://doi.org/10.3998/ohp.13106496.0001.001
Google Scholar
Morton, T. (2016). Dark Ecology: For a Logic of Future Coexistence. New York: Columbia University Press.
DOI: https://doi.org/10.7312/mort17752
Google Scholar
Morton, T. (2018). Lepkość (tłum. A. Barcz). Teksty Drugie, (2), ss. 284-290.
Google Scholar
Saussure, F. de (2002). Kurs językoznawstwa ogólnego (tłum. K. Kasprzyk). Warszawa: Wydawnictwo Naukowe PWN.
Google Scholar
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”.
Statistics
Abstract views: 257PDF downloads: 233
License
Copyright (c) 2023 Andrzej Marzec
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
