Art and Cosmotechnics argues that art is not a secondary aesthetic activity, but a mode of thinking capable of opening other philosophical beginnings after the exhaustion of Western metaphysics. Yuk Hui situates the book after his work on recursivity, shifting aesthetics from an “inferior” faculty of cognition into the realm of logic. The central concern is cosmotechnics: the relation between cosmos, morality, technique and forms of life. Hui contrasts tragic Western logic and cybernetic recursive logic with Daoist logic, especially through the aesthetics of shanshui, or mountain-water painting. Rather than treating Chinese painting as representation, he reads it as a way of sensing, resonating and thinking through relations between visible and invisible, world and earth, emptiness and manifestation. The book therefore proposes art as an epistemic and cosmological practice, not merely as cultural expression. Its structure moves from tragic art and Daoist cosmotechnics to Heidegger, artificial truth, the unknown, shanshui, machine intelligence and automation. Against the dominance of computation, Hui asks how art may preserve the incomputable and incalculable dimensions of intuition, sensibility and place. This is especially important in the age of recursive machines, where intelligence risks being reduced to calculation. Art becomes a site of resistance and invention because it can educate sensibility, produce new relations with the unknown and resituate technology within plural cosmologies. The book’s deepest claim is that art can renew philosophy by transforming how we perceive, think and inhabit the world. Instead of a universal technological modernity, Hui calls for multiple cosmotechnical futures grounded in different aesthetic, moral and cosmological traditions.