Speculative fabulations for a decolonial aesthesis. The tracking of invisibles in the short film Enviado para falsear

Abstract

In this text we explore the possibility of decolonial aesthesis in Latin American moving image. We work with the notions of speculative fabulation by D. Haraway, the art of tracking invisibles, by V. Despret, and other key categories in the field of visual studies, such as the scopic regime, by M. Jay. Through the analysis of the short film Enviado para falsear, we reflect on the value of the invisibles and the black image as decolonial rhetorical figures of audiovisual practice in Latin America. We consider as a hypothesis that the mode of narration and montage developed in the short film can be thought of as a speculative fable whose procedure is the tracking of invisibles. This operation makes it possible to deconstruct the contemporary modalities of sociality, control and surveillance. The fabrication of other stories about cultural, natural and artificial technologies, allows us to review the inherited positivist paradigms and make new orders of the visible and the sensible emerge. The commitment to a decolonial aesthesis raised in the work, problematizes the Eurocentric scopic regime and in this way, suggests ways of making and seeing images that resist the logic of the luminous unconscious cinematographic.