This essay analyzes the experimental work of Mexican programmer, artist, and writer Eugenio Tisselli (Mexico City, 1972), accessible on motorhueso. net. The audiovisual, literary, and musical pieces in digital formats are processual artifacts with recognizable contents and forms that are expanded, modified, and reutilized in diverse recompositions over time, accompanying Tissellis' installations and performances in art centers and galleries. All his work is in constant dialogue with contemporary critical thinking about the digital era and its social and political configurations, the Anthropocene and its consequences, and the relations between arts, technologies, and human beings. Tissellis' symptomatic and somehow paradoxical artworks condense, in their practical and theoretical dimensions, some core questions of pos-thuman aesthetics from a Latin American point of view. In three sections, this essay traces some aspects of posthuman aesthetics, the c "ultura_RAM ", the postmedial condition, informational capitalism, and the construction of subjectivities in the context of epistemological changes produced by cyberne-tics, algorithmic language, and new materialities between the analogue and the digital, focusing on the (art) machine that presumably guarantees life and negentropy, in order to combat entropy, chaos, and death.