baroque unfolding

The “leaving out” Turkle refers to can be interpreted as an instance of transformation, which needs to be accompanied by an equal transformation of our way of thinking.

Where do we find the object amidst this complex overlapping and converging of raw data, digital and analog and arbitrary manipulation? It would be VERY difficult, and frankly useless to try and discern what is left of the “real object”. what is interesting, instead, is to reflect on its multilayered-ness, as the object becomes a complex hybrid, one that effectively manifests an

..implosion of informatics and biologics, one that is not born, but it is made (Haraway, 1991).

as Haraway so elegantly put it. more specifically, the object becomes a text dense of metaphors and tropes, a knitted fabric from which we may extract both scientific data and cultural material, which may shed some light on the complex and unavoidable meshing of information and biology as a new paradigm that is no longer the exception, but the norm. In other words: emerging from the piles of layers constructed by technology, human intervention and professional expertise, we might see the resulting object as neither lost nor hidden, but simply transformed. A process of transformation that reflects what Anna Munster sees as a clear sign of the decline of Cartesianism:

The digital conceived as part of a baroque flow, now unfolds genealogically out of the baroque articulation of the differential relations between embodiment and technics.. . in this baroque unfolding, the binary pairs that have populated the understanding of digital culture and new media technologies, can be seen to impinge upon each other rather than be mutually exclusive.(Munster, Materializing New Media 2009)

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