Since 2007, Tomás Saraceno has been developing a project that aims to break out of the anthropocentric understanding of communication and coexistence with other animal organisms. In this article, I point out the importance of using modern visualization technologies to analyze and investigate the structure of communication frameworks and their modalities in the animal world, specifically using the example of spiders. The visualization of what is normally invisible to the eye and inaudible to the ear rearticulates the realm of the visible and the audible, which Saraceno then uses for art-critical purposes, with the aim of forming a new type of posthuman attunement to the environment and other animal species. The condition for outlining and articulating Saraceno’s artistic vision is the use of the latest technologies of visualization, which operate on the principle of digital and algorithmic code. They synthesize different planes of affectivity and transform, modulate, and combine the different modes of signs into a single technical-organic complex: they offer new ways of seeing and feeling the world. Thus, hybrid ecology in Saraceno’s case does not imply a return to primordial ways of life, but on the contrary, it forms a semiosphere attuned to a specific plane of consistency that enfolds distinct modes of signs and develops them into an expression of hitherto unsuspected variants of life.

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托马斯·萨拉切诺：后人类时间性的符号学制度

自 2007 年以来，Tomás Saraceno 一直在开发一个项目，旨在打破以人类为中心的对与其他动物有机体的交流和共存的理解。在本文中，我指出使用现代可视化技术来分析和研究动物世界中的通信框架结构及其模式的重要性，特别是使用蜘蛛的例子。通常眼睛看不见、耳朵听不见的东西的可视化重新表达了可见和可听的领域，萨拉切诺随后将其用于艺术批判的目的，目的是形成一种新型的后人类对环境和声音的协调。其他动物种类。概述和阐明萨拉切诺的艺术愿景的条件是使用最新的可视化技术，该技术按照数字和算法代码的原理运行。它们综合了不同的情感层面，并将不同的符号模式转化、调制和组合成一个单一的技术有机复合体：它们提供了看待和感受世界的新方式。因此，萨拉切诺案例中的混合生态学并不意味着回归原始生活方式，相反，它形成了一个与特定一致性平面相协调的符号圈，该平面包含了不同的符号模式，并将它们发展成迄今为止未被怀疑的变体的表达的生活。