Informed by Gloria Anzaldua's and Jose Carlos Mariategui's work, as well as by Andean cosmology, Omar Rivera turns to Inka stonework and architecture as an example of a "Cosmological Aesthetics." He articulates ways of sensing, feeling and remembering that are attuned to an aesthetic of water, earth and light. On this basis, Rivera brings forth a corporeal orientation that can be inhabited by the oppressed, one that withdraws from predominant modern/Western conceptions of the human. By providing an aesthetic analysis of cosmological sensing, Rivera sets the stage for exploring physical dimensions of anti-colonial resistance, and furthers the Latinx and Latin American tradition of anti-colonial and liberatory philosophy. Seeing aesthetic involvements with the cosmos as a source for embodied modes of resistance, Rivera turns to the work of Maria Lugones and Enrique Dussel in order to make explicit the aesthetic dimensions of their work. Andean Aesthetics and Anticolonial Resistance creates a new dialogue between art historians, artists, and philosophers working on Latin American thought, phenomenology, and hermeneutics. It weaves together a Latin American philosophy that connects pre-Columbian cosmologies with contemporary thinkers. Rivera's original approach introduces us to the living, evolving and aesthetic alternatives to coloniality of power and of knowledge, overhauling current understandings of decolonial theory and opening the tradition in transformative ways.

A distinctive focus of 19th- and 20th-century Latin American philosophy is the convergence of identity formation and political liberation in ethnically and racially diverse postcolonial contexts. From this perspective, Omar Rivera interprets how a "we" is articulated and deployed in central political texts of this robust philosophical tradition. In particular, by turning to the work of Peruvian political theorist Jose Carlos Mariategui among others, Rivera critiques philosophies of liberation that are invested in the redemption of oppressed identities as conditions for bringing about radical social and political change, foregrounding Latin America's complex histories and socialities to illustrate the power and shortcomings of these projects. Building on this critical approach, Rivera studies interrelated epistemological, transcultural, and aesthetic delimitations of Latin American philosophy in order to explore the possibility of social and political liberation "beyond redemption."

A distinctive focus of 19th- and 20th-century Latin American philosophy is the convergence of identity formation and political liberation in ethnically and racially diverse postcolonial contexts. From this perspective, Omar Rivera interprets how a "we" is articulated and deployed in central political texts of this robust philosophical tradition. In particular, by turning to the work of Peruvian political theorist Jose Carlos Mariategui among others, Rivera critiques philosophies of liberation that are invested in the redemption of oppressed identities as conditions for bringing about radical social and political change, foregrounding Latin America's complex histories and socialities to illustrate the power and shortcomings of these projects. Building on this critical approach, Rivera studies interrelated epistemological, transcultural, and aesthetic delimitations of Latin American philosophy in order to explore the possibility of social and political liberation "beyond redemption."

Informed by Gloria Anzaldúa’s and José Carlos Mariátegui’s work, as well as by Andean cosmology, Omar Rivera turns to Inka stonework and architecture as an example of a “Cosmological Aesthetics.� He articulates ways of sensing, feeling and remembering that are attuned to an aesthetic of water, earth and light. On this basis, Rivera brings forth a corporeal orientation that can be inhabited by the oppressed, one that withdraws from predominant modern/Western conceptions of the human. By providing an aesthetic analysis of cosmological sensing, Rivera sets the stage for exploring physical dimensions of anti-colonial resistance, and furthers the Latinx and Latin American tradition of anti-colonial and liberatory philosophy. Seeing aesthetic involvements with the cosmos as a source for embodied modes of resistance, Rivera turns to the work of María Lugones and Enrique Dussel in order to make explicit the aesthetic dimensions of their work. Andean Aesthetics and Anticolonial Resistance creates a new dialogue between art historians, artists, and philosophers working on Latin American thought, phenomenology, and hermeneutics. It weaves together a Latin American philosophy that connects pre-Columbian cosmologies with contemporary thinkers. Rivera's original approach introduces us to the living, evolving and aesthetic alternatives to coloniality of power and of knowledge, overhauling current understandings of decolonial theory and opening the tradition in transformative ways.