Towards a possible future of Latin American Cosmotechnics
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Open in new tab This article develops a reflection on the concept of Cosmotechnic by the Chinese philosopher Yuk Hui (2017), in order to achieve a critical latin american perspective, one that takes into account the scope of colonization at the origin of regional aesthetics, thus allowing the mobilization of the foundation of said genre – the carnavalisation – to the center of latin american techno-socio-epistemic productivity. Opening to questions: How do “latinoamerican Cosmotechnics” arise in different ways? And with what interests are they made evident? And how is a Cosmotechnic related to plural worlds? In that sense, Cosmotechnic’s approach must be understood as the origin of a configuration that allows us to understand the codependency between human-machine beings and their politics. The mode of approach chosen here takes us back to the confrontation to discuss Simondon’s thought and its relevance today in light of possible “symbiotic” forms of ecological, aesthetic and technological modes of existence. Simondon speaks explicitly of the “evolution,” not the history of technical objects. Showing us that technical objects “evolve” by virtue of processes of differentiation and concretization. Thus, this essay will show, first of all, the affinities of Simondon’s conception with Hui’s notion of Cosmotechnic. Secondly, the ways in which Hui goes beyond Simondon from his approach to a localized technodiversity will be discussed. Both do not endorse a vitalism that separates the domains of the living and the non-living, nor an anthropological conception of technology that defines technical objects through their practical use. In conclusion, both views reflect the implications and limitations of coexisting under a monotechnological planetary condition. This has an impact on recognizing the importance of historical, cultural and geopolitical difference in the interrelation between the cosmos, morality and technical activities, which Hui calls a cosmotechnical event (2021).
Renzo Filinich Orozco
The University of the Witwatersrand, South Africa
Renzo Filinich (Lima, 1978). Media Artist and Researcher, PhD in Interdisciplinary Studies on Thought, Culture and Society, University of Valparaíso. Master in Media Arts, University of Chile. A researcher in Technological Culture and Aesthetics, he currently works as a postdoctoral researcher at the Faculty of Arts at Wits University in Johannesburg, artist in residence at the Posthuman Art Network and as an associate researcher at the Research Network for Philosophy and Technology directed by Yuk Hui.
