In light of current discourses on AI and robotics, what do the various experiences of art contribute to the rethinking of technology today? Art and Cosmotechnics addresses the challenge of technology to the existence of art and traditional thought, especially in light of current discourses on artificial intelligence and robotics. It carries out an attempt on the cosmotechnics of Chinese landscape painting in order to address this question, and further asks: What is the significance of shanshui (mountain and water) in face of the new challenges brought about by the current technological transformation? Thinking art and cosmotechnics together is an attempt to look into the varieties of experiences of art and to ask what these experiences might contribute to the rethinking of technology today.

In light of current discourses on AI and robotics, what do the various experiences of art contribute to the rethinking of technology today? Art and Cosmotechnics addresses the challenge of technology to the existence of art and traditional thought, especially in light of current discourses on artificial intelligence and robotics. It carries out an attempt on the cosmotechnics of Chinese landscape painting in order to address this question, and further asks: What is the significance of shanshui (mountain and water) in face of the new challenges brought about by the current technological transformation? Thinking art and cosmotechnics together is an attempt to look into the varieties of experiences of art and to ask what these experiences might contribute to the rethinking of technology today.

This volume is initial reflections on the meaning and the implications of Yuk Hui’s notion of cosmotechnics, which opens up an anti-universalist and pluralist perspective on technology beyond the West. Martin Heidegger’s famous analysis of the essence of technology as enframing and as rooted in ancient Greek techne has had a crucial influence on the understanding and critique of technological society and culture in the twentieth century. However, it is still unclear to what extent his analysis can also be applied to the development of technology outside of ‘the West’, e.g. in China, Africa, and Latin America, particularly against the backdrop of receding Western domination and impending global ecological disaster. Acknowledging the planetary expansion of Western technology already observed by Heidegger, yet also recognizing the existence of non-Western origins of technical relationships to the cosmos, Yuk Hui’s notion of cosmotechnics calls for a rethinking – in dialogue with decolonial studies and the so-called ontological turn in contemporary anthropology – of the question concerning technology which challenges the universality still present in Heidegger (as well as in Simondon and Stiegler) and proposes a radical technological or rather cosmotechnical pluralism or technodiversity. The contributors to this volume critically engage with this proposal and examine the possible implications of Hui’s cosmotechnical turn in thinking about technology as it becomes a planetary force in our current age of the Anthropocene. The chapters in this book were originally published as a special issue of Angelaki.

In a critical ecological approach, the entanglement of nature in the discourses of supernatural religious doctrine and practice is often perceived as one of the causes of the instrumentalization of the natural world for anthropocentric hegemony over divine creation. On the other hand, a certain “environmental turn” can be observed in the theological discourses of various religions. In addition to the eco-theological tendencies present in contemporary theological reflection within the world’s main religions, another interesting phenomenon is the attempt to restore archaic forms of spirituality in the materialistic discourses of posthumanism. These issues are critically analyzed in individual articles taking into account various approaches and thematic circles.

Focusing on transculturality, this edited volume explores how the role of translation and the idea of (un)translatability in the transformative complementation of different civilizations facilitates the transcultural connection between Chinese and other cultures in the modern era. Bringing together established international scholars and emerging new voices, this collection explores the linguistic, social, and cultural implications of translation and transculturality. The 13 chapters not only discuss the translation of literature, but also break new ground by addressing the translation of cinema, performance, and the visual arts, which are active bearers of modern and contemporary culture that are often neglected by academics. Through an engagement with these diverse fields, the title aims not only to reflect on how translation has reproduced values, concepts, and cultural forms, but also to stimulate the emergence of new possibilities in the dynamic transcultural interplay between China and the diverse national, cultural-linguistic, and contexts of Europe, the Americas, and Asia. It shows how cultures have been appropriated, misunderstood, transformed, and reconstructed through processes of linguistic mediation, as well as how knowledge, understanding, and connections have been generated through transculturality. The book will be a must read for scholars and students of translation studies, transcultural studies, and Chinese studies.

Bringing together philosophies of the maternal with digital technology may appear to be an arbitrary pairing. However, reading them intertextually through select creative practices reveals how both encompass an aesthetics of interruption that becomes a novel means of understanding subjectivity. EL Putnam investigates how the digital performances of certain artists, creators, and technologists rupture existing representations of the maternal, taking advantage of the formal properties of digital media. What results are interruptions of visual and aural constructions through an immanent merging of the performing body with digital technologies. Putnam bases her analysis on close examinations of the way certain makers use the formal properties of digital imagery, such as the gap, the glitch, and the lag, as means of rendering images of the maternal uncanny in order to challenge mediation, constituting an aesthetics of interruption. The result is a radical critical strategy for engaging with digital technology and subsequent understandings of the subject that defy current modes of assimilation.

In Decolonial Ecologies: The Reinvention of Natural History in Latin American Art, Joanna Page illuminates the ways in which contemporary artists in Latin America are reinventing historical methods of collecting, organizing, and displaying nature in order to develop new aesthetic and political perspectives on the past and the present. Page brings together an entirely new corpus of artistic projects from Argentina, Brazil, Chile, Colombia, Ecuador, Mexico, and Peru that engage critically and creatively with forms as diverse as the medieval bestiary, baroque cabinets of curiosities, atlases created by European travellers to the New World, the floras and herbaria composed by eighteenth- and nineteenth-century naturalists, and the dioramas designed for natural history museums. She explores how artists develop decolonial and post-anthropocentric perspectives on the collections and expeditions that were central to the evolution of European natural history. Their works forge a critique of the rationalizing approach to nature taken by modern Western science, reconnecting it with forms of popular, indigenous and spiritual knowledge and experience that it has systematically excluded since the Enlightenment. Drawing on photography, video, illustration, sculpture, and installation, this vividly illustrated and lucidly written book (also available in premium quality in hardback edition) explores how these artworks might also deconstruct the apocalyptic visions of environmental change that often dominate Western thought, developing a renewed understanding of alternative ways in which humans might co-inhabit the natural world.