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Cuerpos, Cyborgs E Inteligencia Artificial En Los Anime Japoneses

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Cuerpos, Cyborgs E Inteligencia Artificial En Los Anime Japoneses Dr. Hugo Córdova Quero Graduate Theological Union Cuerpos, cyborgs e inteligencia artificial en los anime japoneses Bodies, cyborgs and artificial intelligece in Japanese anime Resumen Uno de los aspectos más fascinantes de los anime japoneses es la naturalidad con la cual nos presentan la cuestión de lo tecnológico, sobre todo en la imagen de los cyborgs. Sin embargo, nos preguntamos: ¿qué representan los cyborgs en los anime en relación con la vida de las personas que asisten a la historia que se nos cuenta? Planteados como la brecha entre los seres humanos y la cibernética, los cyborgs nos llevan a tres preguntas importantes sobre nuestra propia humanidad: a) la cuestión de la existencia, b) el tema de los sentimientos y c) qué se entiende por cuerpo. Este escrito explora y busca responder — en parte — esas preguntas. Si bien esas preguntas, han ocupado el pensamiento de filósofos, lingüistas, y teóricos críticos, cobran mayor importancia en cuanto se han convertido en elementos cuestionados en nuestra vida diaria. De este modo, los anime Japoneses nos desafían a mirarnos a nosotros mismos a través de los argumentos de sus historias. Abstract One of the most fascinating aspects of Japanese anime is the ease with which they confront us with the issue of technology, especially in the image of the cyborgs. However, we wonder what do cyborgs in Japanese anime relate to the lives of people who watch the stories we are told. Posed as the gap between humans and cybernetics, cyborgs lead us to three important questions about our own humanity: a) the topic of existence, b) the issue of feelings, and c) what do we mean by body. This paper explores and seeks to — partially — answer these questions. Although those questions have preoccupied the work of philosophers, linguists, and critical theorists, they nowadays assume greater importance through becoming interrogates elements in our everyday life. In this way, Japanese anime challenge us to mirror through their narrative plots. Palabras Claves / Key Words: Cyborgs - Corporalidad - Ghost in the Shell - Applessed Ex-Machin - Fullmetal Alchemist Cuerpos, cyborgs e inteligencia artificial en los anime japoneses Introducción También se puede argumentar que el ADN no es más que un programa diseñado para preservarse a sí mismo. La vida se ha vuelto más compleja en el abrumador océano de la información. Y la vida, organizada en especies, depende de los genes como su sistema de memoria. Así que el ser humano es un individuo sólo por su propia memoria indefinible. Pero aunque la memoria no puede ser definida, sin embargo, define a la humanidad. El advenimiento de las computadoras y la consiguiente acumulación de incalculables datos ha dado lugar a un nuevo sistema de memoria y de pensamiento, paralelo al humano. La humanidad ha subestimado las consecuencias de la tecnologización. El Titiritero (Ghost in the Shell)1 Hablar de cultura japonesa en nuestros tiempos es hacer refe- rencia casi automáticamente al fenómeno de los manga y anime. Por manga entendemos la producción gráfica de historietas mientras que por anime entendemos la producción visual en forma de cortos, se- ries o películas de dibujos animados. En este ensayo en particular nos centramos en la manera en que los anime enfocan la pregunta por lo humano en relación a su contexto cultural y tecnológico. El término anime es la abreviación del vocablo inglés animation. Debido a su ca- rácter foráneo a la cultura japonesa, el término se escribe en kataka- na, sistema de escritura simplificado a partir de los caracteres chinos que denota palabras que no son de origen japonés. Si bien se conocen anime desde 1917, no fue sino hasta la aparición de la obra de Osamu Tezuka en 1960 que el género cobró fuerza creativa dentro de Japón. Su obra más conocida, Astro Boy (Tetsuwan Atomu)2 llevó al anime a nuevos contextos, por ejemplo a nuestro país, Argentina. En realidad Tezuka es un mangaka, es decir, alguien que dibuja manga, pero sus obras muy pronto fueron llevadas a la animación. Por ejemplo, el man- ga de Astro Boy fue publicado entre 1952 y 1968.3 En el fondo, la trama básica de un anime es una serie considerable de dibujos conectados en ______________________________ 1. Mamoru OISHII (dir.) (1995): Ghost in the Shell, 82 minutos, DVD. Los Angeles, Manga Enter- tainment. En el escrito se cita el nombre de los anime en castellano o en inglés y el nombre en japonés en caracteres latinos. En las notas al pie de página y en la bibliografía se agrega entre paréntesis los años de emisión en Japón. 2. Osamu TEZUKA (dir.) (1963-1975): Astro Boy, 192 episodios, Serie de TV. Tokio, Mushi Produc- tions. 54 Hugo Córdova Quero | ANIMA2013: 53 - 70 secuencias que luego se transforman en una animación. Tezuka expo- ne en sus manga y, por ende, en sus anime, una preocupación por las situaciones sociales, históricas o ecológicas de su época.4 Desde 1970-1980, y la creciente popularización de los anime fuera de Japón, la cultura otaku también se extendió. El termino otaku escrito en kanji originalmente designaba la casa o familia de otra per- sona, y por consiguiente, fue usado como honorífico para la segunda persona singular. A partir de la década de 1980 se comenzó a usar con el significado de “friki” entre aquellas personasfans de los manga, ani- me, y videojuegos. La cultura otaku tiene al distrito de Akihabara, en Tokio, como su capital mundial. La cultura otaku ha impactado en Ar- gentina desde la década de 1980 conMazinger Z (Majingā Zetto)5 y es- pecialmente con la trilogía Robotech6, una creación estadounidense a partir de tres anime japoneses cuyas historias no están conectadas en- tre sí:7 Macross, Super Dimension Fortress (Chō Jikū Yōsai Makurosu)8; Super Dimension Cavalry Southern Cross (Chōjikū Kidan Sazan Kurosu)9 y Genesis Climber Mospeada (Kikō Sōseiki Mosupīda).10 El impacto en la Argentina ha llevado a la realización de festivales en diversas ciuda- des del país y la creciente visibilidad de una generación que reconoce su gusto por el manga y el anime. ______________________________ 3. Osamu TEZUKA (1952-1968): Tetsuwan Atomu [poderoso atomo], 23 volúmenes. Tokio, Ko- dansha. En el presente escrito cuando se hace referencia a un manga se ha optado por conservar el nombre japonés y entre paréntesis su traducción literal al castellano. 4. María Antonia MARTÍ ESCAYOL (2011). “El discurso ambiental en Osamu Tezuka”, en Ecozon@ 2, N°1. Págs. 81-98. 5. Yugo SERIKAWA, Toshio KATSUDA, Tomoharu KATSUMATA, Takeshi SHIRADO y Nobuo OHNUKI (dirs.) (1972-1974): Mazinger Z, 92 episodios, Serie de TV. Tokio, Toei Animation. 6. Robert V. BARRON e Ippei KURI (dirs.) (1985): Robotech: The Macross Saga, 36 episodios, Serie de TV. Los Angeles, Harmony Gold; (1985): Robotech: The Masters, 24 episodios, Serie de TV. Los Angeles, Harmony Gold; y (1985): Robotech: The New Generation, 25 episodios, Serie de TV. Los Angeles, Harmony Gold. 7. Leandro OBERTO (1999). “Macross. Aclarando el Quilombo”, en Lazer 14 (julio). Págs. 8-29. 8. Noboru ISHIGURO (dir.) (1982-1983): Macross, Super Dimension Fortress, 36 episodios, Serie de TV. Tokio, Studio Nue, Artland y Tatsunoko Productions. 9. Yasuo HASEGAWA (dir.) (1984): Super Dimension Cavalry Southern Cross, 23 episodios, Serie de TV. Tokio, Tatsunoko Productions y Studio Ammonite. 10. Katsuhisa YAMADA (dir.) (1983-1984): Genesis Climber Mospeada, 25 episodios, Serie de TV. Tokio, Artmic y Tatsunoko Productions. 55 Cuerpos, cyborgs e inteligencia artificial en los anime japoneses Uno de los aspectos más fascinantes de los anime es la naturali- dad con la cual nos presentan la cuestión de lo tecnológico, sobre todo en la imagen de los cyborgs. Sin embargo, nos preguntamos: ¿qué re- presentan los cyborgs en los anime en relación con la vida de las per- sonas que asisten a la historia que se nos cuenta? El presente escrito busca indagar en esa pregunta en base a tres aspectos: la pregunta por la existencia y la relacionalidad afectiva y por la corporalidad. Cyborgs y vida artificial inteligente La cuestión de lo cibernético nos coloca frente a la realidad de la vida artificial inteligente. No solo en occidente, sino a nivel mundial, el escritor Isaac Asimov contribuyó significativamente desde la literatura al avance de la robótica en la ciencia ficción. No se puede dejar de mencionar dos de sus contribuciones más famosas: las tres leyes de la robótica y la inteligencia artificial en el concepto del cerebro positróni- co11. Generaciones enteras han crecido escuchando la palabra “robot” como algo natural y perfectamente normalizado. Cabe destacar que el concepto robot no le es propio aunque ha sido distintivamente aso- ciado a su obra.12 Sin embargo, no fue hasta el ensayo fundamental de Donna Haraway, Manifiesto Cyborg13 que avanzamos hacia una com- presión filosófica global que incluye no solo lo robótico sino también los organismos biocibernéticos. En su ensayo, por otro lado, Haraway ______________________________ 11. Asimov introduce el concepto de cerebro positrónico en su novela corta “Robbie” publicada en 1940 mientras que las “tres leyes de la robótica” aparecen en su novela corta “Círculo vicioso” (“Runaround”) publicada en 1942. Ambas novelas fueron recopiladas en 1950 en su famoso libro Yo, Robot. En términos de relación, para un robot el cerebro positrónico funciona como el hard- ware mientras que las “tres leyes” funcionan como el software. Véase Isaac ASIMOV (2007): Yo, Robot. Barcelona, Edhasa. 12. El termino robot proviene del vocablo checo robota que significa “trabajo servil” o “servitura” y fue propuesto por el pintor y escritor Josef Čapek a su hermano Karel Čapek cuando este último escribía su obra de teatro R.U.R. (Los robots universales de Rossum), publicada en 1920. Véase Dóminic ZUNT (2008). “Who Did Actually Invent the Word ‘Robot’ and What Does It Mean?” En línea, URL: <http://capek.misto.cz/english/robot.html>; consultado el 15 de junio de 2013.
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