Universidade do Estado do Rio de Janeiro, Brazil
Erick Felinto is Full Professor at the State University of Rio de Janeiro (UERJ). Doctoral Studies (1998) at UERJ and the University of California, Los Angeles (Comparative Literature/Romance Linguistics and Literatures). Former President of the National Association of the Brazilian Association of Graduate Programs in Communication (Compos) and Scientific Director of the Brazilian Association of Cyberculture Researchers since 2009. He is currently a postdoctoral Fellow at the Universität der Künste Berlin, under the supervision of Siegfried Zielinski. Areas of interest include: cyberculture, literary theory, cinema studies and philosophy of new media. Current publication (with Ivana Bentes): Avatar: o Futuro do Cinema e a Ecologia das Imagens Digitais. Porto Alegre: Sulina, 2010.
Articles of Erick Felinto
Pensamento Poético e Pensamento Calculante: o Dilema da Cibernética e do Humanismo em Vilém Flusser
This paper discusses the complex and contradictory status of cybernetics in Flusser’s thought. These contradictions are, to a large extent, intrinsic to the cybernetic paradigm, as demonstrated by authors such as Katherine Hayles and Céline Lafontaine. The strange combination between the humanistic point of view and cybernetics’ destruction of the humanistic subject, already present in Norbert Wiener, engenders a permanent and creative tension within Flusser’s work. The article argues that it is this creative tension that allows Flusser to establish a dialogue with radically new models of subjectivity, while at the same time remaining faithful to what – according to him – characterizes the apex of human experience: freedom and the willingness to engage in a playful relationship with the surrounding environment.
Vampyroteuthis: a Segunda Natureza do Cinema. A ‘Matéria’ do Filme e o Corpo do Espectador
Vilém Flusser's Vampyroteuthis Infernalis reenacts and actualizes the time-honored tradition of a mental experiment that purports to efface the boundaries between man and animal. This ancient conceptual device, known in Baroque times as physica naturalis, seeks to illuminate the world of culture by means of its approximation with the world of nature. Instead of opposing poles, nature and culture become reflecting mirrors where man can acknowledge his ties to nature and the animal kingdom. More than just a rhetorical trope, the so-called allegory of natural history comprises what could be defined as a "philosophy of animality," espoused by thinkers such as Walter Benjamin, Gilbert Simondon and Jacques Derrida. In Vampyroteuthis, Flusser resorts to a strange marine creature in order to elaborate a sophisticated meditation on human existence and our relationship with the technological apparatuses we incessantly devise. The goal of this paper is to examine the recent history of the allegory, tracing its developments in the works of contemporary scholars, such as Siegfried Zielinski, Manuel de Landa and Vilém Flusser himself. Moreover, it investigates the applicability of the "philosophy of animality" within the field of film theory, suggesting an approach to filmic experience that focuses on the "material" aspects of cinema and regards the spectator's body as a site for the translation of images into affect and sensation.