Abstract This article proposes a philosophical reinterpretation of contemporary aestheticization beyond the sociological framework of hypermodernity. In dialogue with Gilles Lipovetsky, it argues that the contemporary proliferation of aesthetic forms cannot be understood only as an effect of design, consumption, fashion, or the cultural industries, but also as the symptom of a deeper transformation: the loss of an operative cosmology capable of structuring relations between humans, territory, community, and the invisible world. This condition is described here as a cosmological void. The article introduces the concept of cosmological aesthetics to describe aesthetic, artistic, and ritual forms that function as visible articulations of relational ontologies. Drawing on field experience in the Peruvian Amazon and research on Andean cosmologies, the essay argues that in these contexts aesthetic forms do not merely represent a worldview but help sustain and render operative a relational structure of the world.

Este trabajo forma parte de una investigación más amplia sobre arte, cosmología y ontología relacional en mundos amazónicos y andinos. El artículo se basa tanto en reflexión filosófica como en experiencia de campo prolongada en la Amazonía peruana, particularmente en relación con comunidades y artistas shipibo-konibo. Correcciones tipográficas menores y ajuste del título. No se modifican los argumentos del artículo.

Note in English This article forms part of a broader research project on art, cosmology, and relational ontology in Amazonian and Andean worlds. The study combines philosophical analysis with long-term field experience in the Peruvian Amazon, particularly in relation to Shipibo-Konibo communities and artists. Minor typographical corrections and title clarification. No changes to the argument or results.