Pantallas de la liberación : las tecnologías lugarizadas de la América profunda

Abstract

This thesis conducts a critical and transdisciplinary exploration of local contemporary technologies, with a particular focus on rethinking the role and connection of screens in the context of Latin America and specifically Colombia. Technology, especially in its Western and modern form, has led to a standardization of devices and a uniformity in their use, resulting in the marginalization of other forms of knowledge and practices. This uniformity is evident in the "beautiful screens" of modernity, which, despite their aesthetic appeal, hide a power and knowledge structure that perpetuates coloniality and a Eurocentric worldview. The central proposal is the introduction of an alternative concept of screen, named "liberation screens," aimed at freeing practices and thoughts from the constraints imposed by Western technology. These screens are not only different in terms of design and aesthetics but also promote a deeper connection with the land, fostering vital and disruptive discourses. The objective is to create technologies that truly connect across lands, transcending culture, epistemology, and the spiritualities of Deep America, enabling a more inclusive and liberating technological praxis. The questions address the "coloniality of aesthetics" and the "coloniality of gaze," explaining how Western technologies and practices have dominated and marginalized other forms of expression and knowledge. In response, a "localized technology response" is proposed, involving the development of technologies that respect and reflect the cultural, aesthetic, and epistemological particularities of different regions of our Deep America. This approach challenges Western technological hegemony and seeks to reaffirm identities and cultural practices historically marginalized. The methodology adopted is both epistemological and practical, including visits to sites with screens of media archeologies in Colombia, such as the Serranía de la Lindosa and the Fuente del Lavapatas, as well as intensive work at the C.I. Hologramas holography factory. These examples illustrate how cultural, artistic, and social aspects can be integrated into technology, creating screens that are not just technological tools but also platforms for cultural expression and critical thinking. Furthermore, examples of lithic screens and Brazilian holopoems demonstrate how technology can be a powerful medium for cultural resistance and the expression of creation, and how it can contribute to a better understanding of culture with scientific knowledge and spiritual affections. The proposal advocates a radical new way of understanding and using screens as connective, material, corporeal, and epistemic thresholds from local initiatives. By rejecting the uniformity and homogeneity imposed by Western modernity and embracing a plurality of voices and perspectives, "liberation screens" and localized technology emerge as key tools for a more inclusive, diverse, and genuinely liberating future. This approach not only challenges the technological status quo but also opens new possibilities for technological development in Latin America, fostering a deeper and more respectful understanding of human plurality and its connection with a diverse world of cultures and knowledge.