In this paper we propose the analysis and delimitation of the scope of some conceptual and artistic proposals developed through the concepts of science fiction or fictional speculation. Specifically, those interested in questioning the transcendence of the human through technology and its digital language – video art. On the one hand, we try to clarify how the political scope of post-humanist practices – adherent to a “accelerationist geopolitical aesthetics” – that try to articulate a historical or political interventionist objective considering the onto-epistemological contradictions and ecological threats for humanity, arising from the understanding of the world proposed by the term Anthropocene. On the other hand, we highlight the paradoxes developed by the a-humanistic or post-Anthropocene perspective in the video art work Artificialis (2020) by Laurent Grasso and how the category of exoticism can mean an unexpected transformation and recovery of the Kantian sublime.
