The Machined Human and the Digital Unconscious

Reflecting on the digital unconscious may mean proposing a reflection on non-mastery in a field—digital creation of images and sounds, or the use of the digital in audiovisual creation—where resides the idea that digital machinery gives immense power to the artist who can now, thanks to calculation and data storage, surpass the usual limitations that human capacities have otherwise imposed on creation. On the contrary, we should take into account not only what digital machines reveal about us or from which unconscious patterns our work with them emerges, but how we deal with them as machines. Are we so aware of what we expect from technologies, or of what we project onto them? Pierre Schaeffer (the inventor of musique concrète but also a media theorist in his own right), who wrote on that topic 50 years ago can be of help here. This paper mainly relies on his text “Le machinisme artistique” (“Artistic Machinism”), published as a chapter at the beginning of Machines à communiquer in 1970 (his book on media theory and practice, not yet translated into English) and proposes, with this approach in mind, an examination of several uses and conceptions of the digital image today, with particular reference to the movie Oppenheimer.