Emancipiranje od (kolonialnih) genealogij tehnodružbenih omrežij ali preobrat razmerij s spreminjanjem plenilca v plen v filmu Nak režiserja Jordana Peela
DOI:
https://doi.org/10.3986/fv.44.2.07Ključne besede:
telo, rasa, algoritmična vladnost, računalniško nezavedno, evropocentrična matrica moči, Nak, Jordan PeelePovzetek
Namen članka je kartirati sodobna tehnodružbena omrežja skupaj z razmejitvijo algoritmične vladnosti, računalniškega nezavednega in epistemične strukture evrocentrične matrice moči (ki jo preganja lastno ponavljanje nenehnega brezna grozot) ter poiskati geste upora. V nasprotju z napačnim prepričanjem kapitalističnega realizma, lahko te geste odpora najdemo povsod, tudi v filmu Nak Jordana Peeleja (2022). Peele z različnimi motivi, temami ter kulturnimi in filmskimi referencami ustvari podobo odpora, tj. podobo, ki se upira zgodovinski poti nasilja digitalne kolonialne matrice znanja. Zlasti v filmu Nak je zgodovina rasnega nasilja razgrnjena z osvetlitvijo razmerja med prepletenostjo kapitala in epistemičnim nasiljem, ki pa je utelešeno v vse požirajočem plenilskem neznancu iz vesolja (NLP). Toda Nak govori tudi o vizualiziranju utišanih zgodovin. S kamero ujeti NLP namreč pomeni pretrgati z modernostjo kot totalizirajočo onto-epistemologijo in v takšnem registru generirati lažni univerzalni subjekt Človeka.
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