Ecologies of truth in a post-truth era. The problem with Neo-Nazis is not that they don't trust the media but that they trust them too much. White supremacists are absolutely convinced by their supremacy. They distrust technologies and climate change as much as the global poor because, as white Europeans, they believe they are exempt from exploitation. This book argues that the only truths possible in the 21st century are mobile, inventive practices involving everything European models of communication exclude: technologies, nature, and leftover humanity. Tracing histories of their separation,
Truth analyzes the struggle between the new dominance of information systems and the sensory worlds it excludes, not least the ancestral wisdom that the West has imprisoned in its technologies. The emergent cybernetics of the 1940s has become the dominant ideology of the 21st century.
Truth opposes its division of the world between subjects and objects, signals and noise, emphasizing that there can be no return to some primal Eden of unfettered exchange. Instead, these divisions, which have fundamentally reorganized the commodity form that they inherited, are the historical conditions we must confront. Drawing on a wide range of aesthetic practices, from literature, film, art, music, workplace media, scientific instruments, and animal displays,
Truth seeks out ways to create a new commons and a new politics grounded in aesthetic properties of creativity, senses and perception that can no longer be restricted to humans alone.
在後真相時代的真理生態學
新納粹分子的問題不在於他們不信任媒體，而在於他們過於信任媒體。白人至上主義者對於他們的優越性深信不疑。他們對科技和氣候變遷的懷疑程度與全球貧困者相當，因為作為白人歐洲人，他們認為自己免於被剝削。本書主張，21世紀唯一可能的真理是流動的、具創造性的實踐，這些實踐涉及所有歐洲溝通模式所排除的事物：科技、自然和剩餘的人性。透過追溯它們的分離歷史，《真理》分析了信息系統的新主導地位與其排除的感官世界之間的鬥爭，尤其是西方在其科技中囚禁的祖先智慧。1940年代新興的控制論已成為21世紀的主導意識形態。《真理》反對將世界劃分為主體與客體、信號與噪音，強調無法回到某種不受限制的交換的原始伊甸園。相反，這些劃分根本上重組了它們所繼承的商品形式，這是我們必須面對的歷史條件。《真理》借鑒了廣泛的美學實踐，包括文學、電影、藝術、音樂、工作場所媒體、科學儀器和動物展示，尋求創造一個新的公共領域和一種新的政治，這種政治根植於創造力、感官和知覺的美學特性，這些特性不再僅限於人類。
Sean Cubitt is Professor of Screen Studies at the University of Melbourne. His publications include The Cinema Effect (MIT Press), EcoMedia, The Practice of Light, (MIT Press), Finite Media: Environmental Implications of Digital Technologies, and Anecdotal Evidence: Ecocritique from Hollywood to the Mass Image. He is co-editor of The Ecocinema Reader: Theory and Practice and Ecomedia: Key Issues, and is series editor for Leonardo Books at the MIT Press.
肖恩·庫比特（Sean Cubitt）是墨爾本大學的螢幕研究教授。他的著作包括《電影效應》（The Cinema Effect，麻省理工學院出版社）、《生態媒體》（EcoMedia）、《光的實踐》（The Practice of Light，麻省理工學院出版社）、《有限媒體：數位技術的環境影響》（Finite Media: Environmental Implications of Digital Technologies）以及《軼事證據：從好萊塢到大眾影像的生態批評》（Anecdotal Evidence: Ecocritique from Hollywood to the Mass Image）。他是《生態電影讀本：理論與實踐》（The Ecocinema Reader: Theory and Practice）和《生態媒體：關鍵議題》（Ecomedia: Key Issues）的共同編輯，並擔任麻省理工學院出版社的Leonardo Books系列編輯。
