[at091] José Venditti - Hiperobjetos

Date of release: 15.01.2019 
Format: FILE - MP3 / WAV 
Length: 19:00 min 
Artwork: Audiotalaia / José Venditti
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In The Ecological Thought, Timothy Morton employed the term hyperobjects to describe objects that are so massively distributed in time and space as to transcend spatiotemporal specificity, such as global warming, styrofoam, and radioactive plutonium. He has subsequently enumerated five characteristics of hyperobjects:

Viscous: Hyperobjects adhere to any other object they touch, no matter how hard an object tries to resist. In this way, hyperobjects overrule ironic distance, meaning that the more an object tries to resist a hyperobject, the more glued to the hyperobject it becomes

Molten: Hyperobjects are so massive that they refute the idea that spacetime is fixed, concrete, and consistent.

Nonlocal: Hyperobjects are massively distributed in time and space to the extent that their totality cannot be realized in any particular local manifestation. For example, global warming is a hyperobject that impacts meteorological conditions, such as tornado formation. According to Morton, though, objects don't feel global warming, but instead experience tornadoes as they cause damage in specific places. Thus, nonlocality describes the manner in which a hyperobject becomes more substantial than the local manifestations they produce.

Phased: Hyperobjects occupy a higher-dimensional space than other entities can normally perceive. Thus, hyperobjects appear to come and go in three-dimensional space, but would appear differently if an observer could have a higher multidimensional view.

Interobjective: Hyperobjects are formed by relations between more than one object. Consequently, objects are only able to perceive to the imprint, or "footprint," of a hyperobject upon other objects, revealed as information. For example, global warming is formed by interactions between the Sun, fossil fuels, and carbon dioxide, among other objects. Yet, global warming is made apparent through emissions levels, temperature changes, and ocean levels, making it seem as if global warming is a product of scientific models, rather than an object that predated its own measurement.

According to Morton, hyperobjects not only become visible during an age of ecological crisis, but alert humans to the ecological dilemmas defining the age in which they live.[33] Additionally, the existential capacity of hyperobjects to outlast a turn toward less materialistic cultural values, coupled with the threat many such objects pose toward organic matter (what Morton calls a "demonic inversion of the sacred substances of religion"), gives them a potential spiritual quality, in which their treatment by future societies may become indistinguishable from reverential care.[34]

Though the concept of hyperobjects has been widely adopted by artists, literary critics, and some philosophers, it is not without its critics. Ecocritic Ursule Heise, for example, notes that in Morton's definition, everything can be considered a hyperobject, which seems to make the concept somewhat meaningless, not to mention seemingly impossible to define clearly. As a result, Heise argues that Morton makes "so many self-cancelling claims about hyperobjects that coherent argument vanishes like the octopi that disappear in several chapters in their clouds of ink, Morton's favorite metaphor for the withdrawal of objects from the grasp of human knowledge."

Transcript from Wikipedia.

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José Venditti has been travelling and touring for over 6 months around Thailand, Vietnam, Malaysia. Camboya and Hong Kong. During this trip Venditti has been reading and researching on Timothy Morton's idea of the hyperobjects.

Inspired by it, he started to work on the four pieces here presented. The pieces have been made trying to create sonic hyperobjects assembled using recorded and found sounds and old materials form previous performances. Overall, a magma of deconstructed sax and cello loops, jungle and urban field recordings as well as de-humanized  and synthetized melodies drift in space and time through this sonic collage of ideas and fleeting moments.

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Tracklist:

01. Zomig
02. Hiperobjetos
03. Everything You Have Experienced As A Human Being Has Been Experienced only by You
04. La Bola en el Techo

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All music, composed, mixed and recorded by José Venditti.
Cello (track 3) by Itxaso Navarro
Fx Voices by Paola Fernandez
Sax and Granular synth by José Venditti

This work is protected under a Creative Commons License 4.0 Share-Alike.
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