By Ian Bogost
Humanity has sat on the heart of philosophical considering for too lengthy. the hot creation of environmental philosophy and posthuman stories has widened our scope of inquiry to incorporate ecosystems, animals, and synthetic intelligence. but the majority of the stuff in our universe, or even in our lives, is still past severe philosophical concern.
In Alien Phenomenology, or What It’s wish to Be a specific thing, Ian Bogost develops an object-oriented ontology that places issues on the heart of being—a philosophy within which not anything exists any longer or below anything, within which people are components yet no longer the only real 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 every one beings engage with and understand each other. This event, even though, withdraws from human comprehension and turns into obtainable merely via a speculative philosophy in line with 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 historical past as a videogame clothier, Bogost encourages specialist thinkers to develop into makers in addition, engineers who build issues up to they believe and write approximately them.
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Extra resources for Alien Phenomenology, or What It's Like to Be a Thing (Posthumanities)
As the human vendor rotates the drum or sets it nearby on Alien Phenomenology [ 25 ] the turned-down tailgate of a red pickup truck, the drum, handle, tailgate, asphalt, pepper, metal, and propane all distance themselves from him and from one another. But another sort of thing also distances in this situation: the relations between those other objects themselves, that between pepper and iron, tailgate and Levi’s 501s, asphalt and pickup. 56 It happens fast and hot, the tiny universes of things bumping and rubbing against one another in succession, chaining together like polymers.
Here’s a sample (note that the English version differs from the Portuguese in some verses): É pau, é pedra, é o ﬁm do caminho É um resto de toco, é um pouco sozinho É um caco de vidro, é a vida, é o sol É a noite, é a morte, é um laço, é o anzol É peroba do campo, é o nó da madeira Caingá, candeia, é o Matita Pereira A stick, a stone, It’s the end of the road, It’s the rest of a stump, It’s a little alone It’s a sliver of glass, It is life, it’s the sun, It is night, it is death, It’s a trap, it’s a gun The oak when it blooms, A fox in the brush, A knot in the wood, The song of a thrush [ 44 ] Ontography É madeira de vento, tombo da ribanceira É o mistério profundo, é o queira ou não queira The wood of the wind, A cliff, a fall, A scratch, a lump, It is nothing at all “Waters of March” does real ontological work.
20 Philosophers, literary critics, and theorists spend so much of their time dealing with textual material that they risk forgetting about the ordinary status of such material. When made of language, lists remind the literary-obsessed that the stuff of things is many. Lists are perfect tools to free us from the prison of representation precisely because they are so inexpressive. ”21 Perhaps the problem is not with lists but with literature, whose preference for traditional narrative acts as a correlationist ampliﬁer.