By Dominic Pettman
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Extra info for Human Error: Species-Being and Media Machines (Posthumanities)
Their errors are not so easily detected or accounted for. For now, however, it is sufficient to note that Frayn and Bloom both exhibit a hubristic melancholy concerning the place of the human in the contemporary moment. In doing so, they follow the logic of ideology in general; that is to say, the more it exposes itself, and the more ironic distance we feel from its force field, the greater the stranglehold it has on us in terms of actual actions. Everybody knows that humans are froth on the ocean of eternity—but what sublime froth!
The focus on technics—as a dynamic form of technological relation that shapes us as much as we shape it—is key. As a result, these case studies are necessarily diverse since the stakes involved can be revealed in the most unexpected and joltingly different places. I have chosen especially suggestive glimpses and provocative moments when humans either acknowledge or refuse—and sometimes both simultaneously—the possibility of becoming-otherwise (whether this be animal, molecule, machine, or whatever).
I had no life. ) At this point, we might return to the structuring absence of the film: the gruesome mauling by “bear 141” on a bleak October day in 2003. In fact, there is another significant aporia here, namely, the presence of Amie Huguenard, Treadwell’s girlfriend, whom Herzog calls “the great unknown” because she appears only twice in the hundred hours of raw footage (and even then, her face is deliberately obscured or turned away). The traumatic sound track of the attack tells us that she bravely tries to fight off the bear that has grabbed Treadwell in his hungry maw.