From Sor Juana Inés de la Cruz (1648-1695) to Gloria Anzaldúa (1942-2004) and onward, poetic language and song has been a staple feature of Latin American thinking in representing lived experience. The prominence of this format of communication invites the question of what music has to offer the practice of Latin American philosophy for those without Latin American background. I argue that music and songs can serve as a legitimate mechanism to convey three components integral to the practice of Latin American philosophy: history, sentiment, and positionality. Furthermore, the phenomenological experience of music which incorporates these components can serve to overcome the disconnect of those without ties to the region. To explain this, I introduce the terms 'hermeneutical distrait’ to describe individuals struggling to comprehend the Latin American circumstance, and ‘hermeneutical concordance’ as the corrective justice that becomes possible by using song to gain the aforementioned insight. Both of these terms connect to, and build off of, arguments made by Miranda Fricker in her writing on epistemic injustices.

Using 3D modelling, I have created a visual artwork that aims to depict the technological demands of replicating the user interface of a modern live-stream (such as those on Twitch) without the use of a computer. This piece explores what sort of trade-offs and labour would be entailed to replicate the unique ability of live-streams to permit engagement with a mass community while the user is entirely alone, depicting the earliest technologies that could could have been used to satisfy the following requirements: a large screen display of an activity performed by an individual; a small screen display of the individual performing the activity; a scrolling commentary from a community of viewers pertaining to specific moments; and, both commercially available and capable of fitting in its entirety on a single desk. In discussing the piece, I present a fictional service offering the experience.