L'immagine iconoclastica e l'assoluto mediale: Metafisica dell'interfacciarsi

Abstract

Thesis of the essay: if we don't want to abstractly consider the Interface as the functionalistic interaction of different systems, within a merely logicistic, substantialistic and mechanistic horizon, so interfacing is a destiny, which assigns the complexity of existence to the unpredictable and elusive vibrations and pollutions of universal, cosmic Mixis, which cannot be theorized, nor known, nor signified as such, but only absorbed, worked and interconditionally and erotically co-produced on the ethical-aesthetic level. Even though the word is not philosophical in origin, interfacing is the crucial philosophical question. Interfacing implies a unitarily complex movement, self-mediating in the course of work, in whose action what is being unified appears as the prismatic plurality of facies, which are not parts of a whole, but aspects of the same unitary pragma at work. In all the main declinations of interfacing, the oscillation between two different logical-metaphysical interpretations of relating is revealed and, at the same time, the character of pharmakon of philosophy as metaphysics also emerges. The experience of relating as a concrete interfacing is incompatible with any metaphysical-ontological-scientific conception founded on the Aristotelian notion of Substance. The interfacing constitutes the fundamental kinematics of thinking that becomes world. It goes beyond all logical oppositions. Neither part nor whole. Neither inside nor outside. Neither external nor internal. In his works only rises the metamorphic unit of facies, each of which prevails over the whole. The inter of every interfacing is in the Image, without which no interfacing would take place. However, today's "civilization of the spectacle", presented by Guy Debord as the heir of all the weaknesses of the western philosophical project dominated by the categories of seeing and by the deployment of technical rationality, is inclined to confuse images with objects, facts and visible things and thus tends to break up and make impossible any concrete interfacing. So the spectacular alienation of images removes their essentially iconoclastic nature. The philosopher who, in the 20th century, thought, in the most profound and radical way, the iconoclastic nature of the Image is Andrea Emo, who also highlighted its absolutely medial character. Not removing the iconoclastic and absolutely medial nature of the Image requires going beyond any purely theoretical-contemplative attitude, towards an integral practical reconversion, in the light of which living and thinking life turns to rhythm, nothing but rhythm. Following the ultrahumanistic urgency of rhythm delivers every action to its autoschediastic character, that is such as to give itself, from time to time, its own figurations. Beyond meaning and as in a musical dance.