Introduction to Art and Cosmotechnics
Brian Kuan Wood opened the discussion by highlighting the context of Yuk Hui’s latest book, *Art and Cosmotechnics*. He pointed out that this work builds on Hui’s previous philosophical discussions, especially those found in his 2016 publication, *The Question Concerning Technology in China: An Essay in Cosmotechnics*. To fully understand Hui’s new book, it is essential to clarify the term “cosmotechnics,” which may have been misinterpreted since the earlier work. This concept addresses the interplay between technology and culture, particularly in non-Western contexts, and how critiques of Western technology can sometimes inadvertently lead to reactionary views or misinterpretations.
Exploring the Unconventional Logic in Art and Cosmotechnics
Yuk Hui described *Art and Cosmotechnics* as an unconventional book that intertwines three seemingly disparate types of logic: tragic thought, Daoist thought, and cybernetic thought. He noted that there hasn’t been much scholarly work attempting to connect these three frameworks. The book is structured in three distinct sections, which he plans to explain. To do so, he first addressed the necessity of introducing the concept of cosmotechnics and the challenges involved in articulating such intricate ideas. Hui’s academic journey began in computer science before he transitioned to philosophy, focusing on technology. He recognized that while the philosophy of technology is often perceived as universal, it predominantly reflects European and American perspectives. This realization prompted him to question the nature of technology in various cultures outside Europe, acknowledging that technological developments are global rather than confined to a specific region.
Historical Context and Philosophical Interpretations
Hui expressed his astonishment at the limited understanding of technology’s essence, which is often framed through a European historical lens. He emphasized that while European discourse has valuable insights, it raises questions about articulating technology in non-European contexts. This creates a paradox, as society has long been taught that concepts like science and technology are universally applicable. Hui illustrated this through examples from philosophy, particularly the works of influential figures like Heidegger. Heidegger argued that the essence of technology diverges from the ancient Greek understanding of technē, which he linked to creativity and the revealing of Being. In contrast, he posited that modern technology transforms into a system that treats resources as mere commodities. Heidegger’s insights resonated across cultures, leading to a widespread acceptance of his views, especially in East Asia, where societies grappled with the tension between tradition and modernity.
Philosophical Blind Spots and Cultural Misunderstandings
Nevertheless, Hui identified a significant blind spot in Heidegger’s argument, particularly regarding the essence of technology in Eastern philosophies. He raised questions about whether the Greek interpretation of technē could be meaningfully related to Eastern thought, where the question of Being may not hold the same significance. He highlighted Joseph Needham’s extensive research on Chinese science and technology, which demonstrated that these fields were advanced long before Western modernity emerged. Needham’s inquiry into why modern scientific advancements did not occur in China or India, despite their historical technological prowess, underscores the complexities of equating different cultural understandings of technology. Hui cautioned against simplistic comparisons, as they tend to overlook the distinct epistemological and ontological foundations that shape various technologies.
Redefining Technology through Cosmotechnics
To address these complexities, Hui introduced the concept of the antinomy of the universality of technology, positing that while technology appears universal, it is inherently influenced by specific cosmological contexts. This antinomy suggests that while each perspective on technology holds validity when examined individually, they create contradictions when viewed collectively. The concept of cosmotechnics aims to bridge these contradictions by recognizing that all technologies are influenced by their cultural and cosmological backgrounds. Hui’s earlier work, *The Question Concerning Technology in China*, sought to reinterpret technology by embedding it within historical and local contexts, thus challenging European-centric narratives.
Cybernetics: A Philosophical and Political Shift
Wood then shifted the conversation towards cybernetics, referencing Hui’s subsequent book, *Recursivity and Contingency*, which explores the profound implications of cybernetics on Western thought. Hui explained that cybernetics, as defined by Norbert Wiener in the 1940s, represents a crucial philosophical shift that dissolves the rigid boundaries between organic life and mechanical systems. He emphasized that machines have evolved from mere tools to intricate systems that coexist with us, blurring the lines between organic and mechanical existence. This transformation raises questions about the implications of living within these vast organic machines.
Continuing the Philosophical Inquiry
Hui acknowledged that after completing *The Question Concerning Technology in China*, he felt there were still unanswered questions, particularly regarding the distinctions between Chinese and Western thought. He noted a common narrative that characterizes Chinese thought as organic and Western thought as mechanistic, a view that he found problematic. This characterization risks reinforcing orientalist perspectives and fails to accurately capture the nuances of Chinese philosophy and technology. Hui stressed the need for a more nuanced understanding that does not rely on binary distinctions but instead appreciates the complexities of each tradition.
Art and Technology: A New Relationship
In *Art and Cosmotechnics*, Hui proposes a fresh perspective on the relationship between art and technology. He critiques the tendency of contemporary art to merely incorporate new technologies without questioning their limitations. This approach often results in a celebration of technology’s oppressive aspects rather than a critical examination. Hui advocates for a return to fundamental principles of aesthetics, framing aesthetics as a form of logic that transcends the current technological paradigm. He posits that aesthetics can shape our understanding of technology rather than merely reflecting it.
Aesthetic Foundations of Logic
Hui elaborates on the importance of examining aesthetics through the lens of logic, positioning it as a foundational aspect of philosophical inquiry. He argues that aesthetics should not be relegated to a lower faculty of cognition but elevated to a logical framework that can inform our understanding of technology. By introducing “tragist” logic and Daoist logic, he illustrates how these aesthetic traditions can provide insights into recursive thinking. Hui emphasizes that both Greek tragedy and Daoist thought begin with contradictions, yet they articulate and resolve these contradictions in distinct ways.
Conclusion: A Call for Aesthetic Engagement
Hui’s exploration in *Art and Cosmotechnics* challenges conventional narratives surrounding art and technology, calling for a deeper engagement with aesthetic thought to reshape our understanding of technological development. He believes that art has the potential to influence not only the conception of technology but also its practical applications, urging a reconsideration of how these domains interact. This inquiry is crucial as we navigate the complexities of modern technological advancements and their implications for society.
