This essay reflects on the colonial relations between art and technology, as well as on the transversal axes among aesthetics, literature, visual arts and technology, from a Latin American/global south critical perspective. It particularly assesses the aesthetic, cultural and political foundations of migratory techniques to the silence, developed by the avantgarde art movements, and the silence as a space of power and value (analyzed as a negative value) for artists and movements. Finally, it recovers ideas from Latin-American theorists ─such as Anibal Quijano and Edouard Glissant─ to re-think these silences and to construct utopias for the Latin-American inter-cultural sensibilities in the scope of aesthetics, poiesis and artistic practices.