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Abstract
This article addresses the problem of how futures are often framed through statistics, prediction, and universal narratives that erase subjectivity and emotion. It proposes an alternative by examining how speculative feelings can become practices of resistance when foregrounded in artistic processes. The objective is to analyze Pura Felicidad, a multimedia installation developed through guided conversations with Latin American artists in Bogotá. The methodology consisted of recording and transcribing collective dialogues, fragmenting and editing the texts, and translating them across media—voices, subtitles, sound, and three-channel video—into an immersive installation. This process, defined as affective translation, carried the intensity of speculative feelings into spatial and collective form without reducing their ambiguity. The results show that plurality of voices, regional accents, and divergent perspectives generated an affective ecology where futures were staged as plural and situated rather than universal or abstract. The conclusion is that artistic research methods such as affective translation can contribute to decolonial and ecological thought by resisting homogenization, fostering pluriversal futures, and transforming subjective emotions into collective and resistant forms of world-making.
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