"Zombies", attention and the sublime in the digital Anthropocene
This essay offers a meta-critique of the aesthetic and political categories of “the Anthropocene sublimes.” It is interested in the short-film “Zombies” (2019) by filmmaker Baloji, and takes it as an aesthetic catalyst to address some timely questions about the Anthropocene vis-à-vis the digital eco...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Universidad de Alcalá (UAH) |
| Repositorio: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Idioma: | inglés |
| OAI Identifier: | oai:ebuah.uah.es:10017/65360 |
| Acceso en línea: | http://hdl.handle.net/10017/65360 https://dx.doi.org/10.37536/ECOZONA.2025.16.1.5594 |
| Access Level: | acceso abierto |
| Palabra clave: | Attention Attention economy Attention ecology Digital Anthropocene The sublime Atención Economía de la atención Ecología de la atención Antropoceno digital Lo sublime Literatura Medio ambiente Literature Environmental science |
| Sumario: | This essay offers a meta-critique of the aesthetic and political categories of “the Anthropocene sublimes.” It is interested in the short-film “Zombies” (2019) by filmmaker Baloji, and takes it as an aesthetic catalyst to address some timely questions about the Anthropocene vis-à-vis the digital ecosystem that surround us: What are the prospects of the sublime in an era of generalized attention deficiency? How is the imaginative potential of the sublime foreclosed by our collective suffering of attention deficiency in a Capitalocene? Relatedly, what is the link between, on the one hand, the common interruption of a sustained attention and, on the other hand, the thwarted efficacy of the sublime as an apparatus of critical and eco-consciousness? I look to the film “Zombies” to consider the possibility of responding to its inferred injunction to reclaim attention as one practice in countering the snares of a networked global economy driven by an abiding digital imperative. |
|---|