Trazos animales y existencias cósmicas de la tierra: Posibilidades anticoloniales frente a los fines

In the drawings accompanying the narrative by Yanomami thinker and shaman Davi Kopenawa in The Falling Sky. Words of a Yanomami Shaman, the form of an ontological co-dependence and a historical intermediality mobilized for translation and dissemination is expressed. This article seeks to understand the drawings made by Kopenawa as animal traces that resist the dominating and colonial matrix of life in the West and its divisive logic between humanity and other forms of existence. Through a possible dialogue with the Derridean notion of zoography, this article argues that these sensitive inscriptions do not constitute strictly anthropic manifestations but relations in which the cosmic and terrestrial intertwining of the terra-floresta, its modes of mediation and transculturation are performativized through a drawn and written material inscription. The Falling Sky brings to the scene an accumulation of forms of existence in which multi-species entanglements and complicities are plotted and diffracted (Haraway 2008; 2019) where drawing and animal writing become inseparable and manifest in diverse technical registers. Thus, by taking as its axis the idea of an animal trace this work dwells on the drawings of The Falling Sky as traces that manifest not only the story of the fall or extinction of a world but the re-emergence of another, the possibility of new forms of life and relationship (Tsing 2021), in a logic that sacrifices, resigns or is willing to resign its eloquence to offer a thought not only about the catastrophe that we whites have generated but a possibility and a future sensibility or affect that, beyond words, is also expressed in the cosmic inscriptions of the soil as anticolonial alternatives in the face of the ends of the world.