In this article, the process of speculating an Irish cosmotechnics is instigated by taking a decolonial approach to technics and technology in Ireland with a focus on three artworks: Assembly by Shane Finan, Interlooping by EL Putnam, and Entanglement by Annex. Each work relates to a different aspect of Irish technological history, from its national beginnings to its current role in global cloud computing networks, engaging with the materialities of technologies with a focus on technologies of communication, agriculture, and digital infrastructures. Countering a colonial narrative of modernist progression, where the implementation of technologies through the cultivation of land and society is put in the service of economic “development,” these three artworks treat technologies with ambivalence, placing emphasis on their material qualities and impacts. This ambivalence, where it is implemented critically yet also functions as the means of producing artistic works, enables what Catherine Walsh refers to as decolonial cracks, introducing a means of working and thinking otherwise with technology in ways that diverge from current practices of coloniality.

中文翻译：

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关于爱尔兰技术的问题？：爱尔兰 Cosmotechnics 的艺术、去殖民化和思辨

在这篇文章中，通过对爱尔兰的技术和技术采取非殖民化的方法，引发了对爱尔兰宇宙技术的推测过程，重点关注三件艺术品：Shane Finan 的 Assembly、EL Putnam 的 Interlooping 和 Annex 的 Entanglement。每件作品都涉及爱尔兰技术历史的不同方面，从其国家起源到其目前在全球云计算网络中的作用，涉及技术的重要性，重点是通信、农业和数字基础设施技术。反对现代主义进步的殖民叙事，其中通过耕种土地和社会来实施技术是为了经济“发展”服务，这三件艺术品以矛盾的态度对待技术，强调它们的物质质量和影响。这种矛盾心理，它被批判地实施，但也作为创作艺术作品的手段发挥作用，使凯瑟琳沃尔什所说的非殖民化裂缝成为可能，引入了一种以不同于当前殖民实践的方式使用技术进行工作和思考的方式。