Re:humanism reaches its fourth edition by engaging with a theme that is crucial today: time, understood as a key to re-signifying the processes and symbolisms underlying technological development. The concept of time under reconsideration is the linear, progressive, and measurable model adopted by Western society as an objectifying parameter of experience. In this sense, technological advancement, already driven by logics of performativity aimed at the rapid conquest of a statistically probable future, arises as a vector of acceleration of social change and reshaping life rhythms, while simultaneously generating the need for new tools capable of navigating such complexity. Time is out of joint, declaimed Shakespeare’s Hamlet; or, to quote Byung-Chul Han, we are living today in a dyschronic condition that “agitates time,” disrupts its rhythm, and prevents us from experiencing its duration. Already with the birth of clock technology, time was engineered and made universal, thus losing its ability to adapt to an internal, qualitative, mutable, and situated dimension. What does all this have to do with artificial intelligence? In many ways, actually, particularly because, by adopting statistical calculation as a procedural model, AI grounds its epistemology in the past, in data, or in what is already given, once again pursuing a linear trajectory that projects it toward a single, predictable, and recurring future. In this univocal process, there is no space for the new, for marginality, or for all those forms of existence that inhabit thresholds, cracks, and boundaries between worlds. Is it then possible to imagine an artificial intelligence capable of challenging its own internal logics and generating spaces of possibility? The artists involved seem to suggest two main trajectories. On one hand, there emerges a need to open up to other modes of defining techno- scientific time, drawing not only from individual experience but also from alternative cultural, ritual, and identity-based forms. The race to develop opaque technologies, whose purposes are often misaligned with collective needs, can be reconsidered by starting from the search for a social time, one that is in tune with the rhythms of nature. On the other hand, and often in continuity with the first perspective, a more focused reflection emerges on the medium of artificial intelligence itself and its mechanisms. If, beyond speculative, fascinating, and unsettling visions, AI takes shape as an inferential machine, that is, a technical system capable of deducing, processing, or producing knowledge through logical rules and statistical models, many contemporary artistic practices demonstrate that it can be hacked, shaped, and interpolated to generate results that go beyond its original domain.