Digital Culture & AudioVisual Challenges

This research proposes Radical Collaboration as a transformative ethico-aesthetic framework for navigating the intersection of digital culture, ecosomatics, and territorial resistance in the Global South. Moving beyond the "functional cooperation" typical of neoliberal academic and artistic structures—characterized by methodological individualism, professional profit, and the commodification of the bond—this paper centers on the Mapuche principle of Kelluwün (reciprocity) and the posthumanist assemblage to redefine the collective bond as a survivalist infrastructure.

The inquiry originates from a critical reflection on the "individualist" paradigms of the Global North, transitioning toward the ecosomatic realities of the Chilean landscape. We begin by weaving a theoretical web that connects the sociology of resonance and the ethics of care with ancestral and posthumanist ontologies, allowing us to perceive a world of mutual belonging. Central to this framework is the integration of Suely Rolnik’s vibrating body, which serves as a somatic compass to navigate what Juana Suárez and Martin Scorsese identify as the Global South Discomfort regarding audiovisual archives. We argue that in the face of institutional neglect and colonial erasure, the act of archiving in the Global South must reclaim a High Anthropophagic vector: an ethical devouring of technologies and ontologies to sustain collective life rather than narcissistic representation.

By analyzing a constellation of Chilean-based initiatives—including the PermaKultura cooperative, the Comunidad Creativa Los Ríos, the festival Toda la Teoría del Universo (TTU), and the sonic platform Radio Coreográfica—we theorize a model of electronic radical care. Here, digital technologies are reframed as common-pool infrastructures that sustain the Cuerpo-nosotrxs (Body-us) across vast geographic distances. From the metabolic "time-currency" of urban kitchens to the "volcanic-embryological" listening practices of the Kütralkura Geopark, we demonstrate how the territory itself functions as the primary technology, "shapeshiftng" the tools of the creative process to meet the specific biological and spiritual needs of the site.

A fundamental dimension of this study is the proposal for Radical Accessibility. We move digital inclusion from a technical compliance issue to a performative political practice. In audiovisual contexts, this is operationalized through Multimodal Redundancy, where the Newen (vital energy) of a performance is translated across sensory boundaries—simultaneously output as sonic frequency, visual light, and haptic feedback. This ensures that the Living Knowledge of the territory remains a shared property, resisting the "numbing of discomfort" found in mainstream media technologies.

Ultimately, this research advocates for a cultural policy that prioritizes decentralized socio-ecological infrastructures over market-driven agendas. Such a policy must mandate digital accessibility as a vital form of electronic radical care, ensuring that the resonance of South-South practices reaches geographically dispersed and differently-abled individuals without domesticating the "problematizing fire" of their lived experience. As the digital era accelerates, Radical Collaboration illuminates a pathway toward inclusive artistic ecologies that integrate human and non-human actors—from the 700-year-old Araucarias of Bosque Pehuén to the invisible microbial agencies of the forest—in a persistent commitment to collective flourishing and territorial justice.