Rodrigo Iván Liceaga Mendoza
https://orcid.org/0000-0002-0358-5695
Universidad Autónoma Metropolitana-Xochimilco, México
rilm@protonmail.com
Abstract:
This article analyzes the technological from a view of “the animal” and by bridging the gap between philosophy of technology, political philosophy, political ecology, and emerging aesthetics, informed by a postcolonial critique. “The animal” is drawn throughout the text as produced and as on the threshold of the indetermined and a rearticulation between the human, the living, the non-living, and the instrumental. Therefore, its definitions and transformations, its actualization are part of an anthropogenetic machine, depending on contingent decisions subject to dynamics of violence, conquest, and domination. This paper argues that animalized bodies are not only those we are accustomed to identify as “living”, but also those that the dominant patterns of production of the “human” have naturalized as “non-living”. Thus, the threshold of “the animal” allows us to operate processes of instrumentalization as processes of animation/animalization of the “non-living”.
Keywords: technology, animalization, animated instrument, conquest, anthropogenetic machine.
