Abstract

This paper engages in a dialogue with José Medina’s work on epistemic activism, adding the notion of ‘aesth-ethic activism’ to highlight the role aesthetics play in epistemic forms of resistance. Drawing from María Lugones’s concept of ‘transgressive hearing’ and my work on ‘grammars of listening’, the paper proposes that ‘radical listening’, in dialogue with Medina’s ‘radical testimony’, requires not only rendering voices audible but subverting the very criteria that govern audibility. Aesthetic resistance is seen as essential for this task. Through an analysis of the artwork Fósil Acústico by Colombian artists Santiago Reyes Villaveces and Daniel Villegas Vélez as ‘aesth-ethic activism’, the paper shows how art can create ‘epistemic frictions’ that challenge our sensibilities and open up liminal sites for complex communication across different epistemic systems. The installation, I show, calls for lingering in the ‘friction’ that makes meaning possible, while allowing sense to circulate in ways that resist signification. Ultimately, in dialogue with Medina and Lugones’s work, and inspired by Sylvia Wynter’s conception of aesthetics, the paper proposes rethinking the epistemic as grounded in the aesthetic and aesthetics as a deciphering practice of epistemic resistance that can make dominant codes of perception ‘consciously alterable’.