Media Archaeologies of the global South: from the analogue to the digital sensorium


Media Archaeologies of the global South: from the analogue to the digital sensorium

Facultad de Artes y Humanidades
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This exchange opens a potential to understand the parallel histories of Latin American and African 'technologies' and their relation to artistic practice, expanding technology to encompass both modern machines and traditional and indigenous 'techne'.

Taking as a starting point that for the Greeks, techné means both art and technique, art and technology have the same origin, revealing new modes of inhabiting the world, from stone-age tools to smart phones. Our approach is to combine a genealogy of technological and artistic histories across Global South Contexts, bringing together our respective research areas on the Anglophone, Arabic, Francophone and Lusophone African continent and Spanish speaking and Lusophone Latin America. Our material speaks to colonial and post-colonial shifts in technological and artistic practice, as well as indigenous encounters with new media.

Our central aim is to think through the potential for art to open scientific research to new ways of producing knowledge by expanding the idea of the senses beyond the human to embrace both non-human/natural/animal and technologically enhanced sensory capacities. We follow Chinese philosopher Yuk Hui to think about the problem of climate crisis from a cosmotechnical and technodiversity perspective, providing a transformative way of reflecting on our current planetary crisis, and imagining radical openings and ways of working with contemporary, historical and indigenous technologies. We intend to shape a new South-South understanding of the relationship between technology, media and information systems, thinking with cybernetics as a model of understanding how the human sensorium is remodelled by information and mediation.

Regular students at the University (students who are studying for an undergraduate or graduate degree) will not be able to register through the Educación Continua for this course. In case of registration, the Management will proceed with its return.

Dirigido a

Professionals from any discipline who want to expand their horizons about the intersections between art and technology.


This interdisciplinary course examines the sociocultural impact of media technologies on diverse communities, addressing issues of representation, power dynamics, and cultural resilience. Students engage in case studies to understand the transformation of the sensorium in a globalized digital age.

We would co-teach the parallel histories of technology, and the indigenous encounter with media in Latin America and Africa. 


We intend to offer a workshop experimenting with field recording, transmission and feedback behaviour to explore what kind of new embodiments are possible when we combine non-human/human systems.


Bettina Malcomess:

Is a writer, academic and artist. Her work exists in a diverse set of media and forms, ranging from long duration performance, to the staging of shorter interventions, and installation projects to the book as site of practice. She produces performances under the name Anne Historical. Malcomess' writing traverses art, film, history, urbanism, as well as fiction. Historical/Malcomess' work has shown at various national and international exhibitions and spaces. She is a lecturer in Visual Arts at Wits School of Arts and is currently doing a PhD in Film Studies at Kings College, London.

Renzo Filinich

Magister en Artes Mediales / Doctor en Estudios Interdisciplinarios. Artista sonoro/medial e investigador en el campo de la producción con nuevas tecnologías en el arte, su trabajo se enfoca en desarrollar nuevos campos interactivos y cognitivos en relación con el espectador, así como la representación espacial del sonido y la imagen por medio del uso de interfaces gestuales de control y de performance. En su trabajo aborda distintos aspectos del lenguaje en el arte contemporaneo, como la instalación audiovisual, la performance y la improvisación. Fue miembro y coordinador de la Comunidad Electroacústica de Chile CECh del 2015 al 2018. A su vez, ha mostrado sus obras e investigaciones en diversos Festivales en: Austria, Portugal, Colombia, Argentina, México, España, Inglaterra, Francia, Perú y Chile. Actualmente trabaja como docente e investigador de nuevos medios para Latinoamérica.


Eventualmente la Universidad puede verse obligada, por causas de fuerza mayor a cambiar sus profesores o cancelar el programa. En este caso el participante podrá optar por la devolución de su dinero o reinvertirlo en otro curso de Educación Continua que se ofrezca en ese momento, asumiendo la diferencia si la hubiere.

La apertura y desarrollo del programa estará sujeto al número de inscritos. El Departamento/Facultad (Unidad académica que ofrece el curso) de la Universidad de los Andes se reserva el derecho de admisión dependiendo del perfil académico de los aspirantes.