Spanish (Castilian)

[Performance] The idea of this “reading” (traversals) is to present the aesthetic experience of the digital work Memorias y caminos, developed in a collaborative way by Jaime Alejandro Rodríguez (writer) Cecilia Traslaviña (animator), Alejandro Forero (programmer) and Carolina Lucio (sound designer). The work, written in Spanish, offers an expanded autobiographical space that substitutes and intensifies some perceptive experiences for its virtual equivalent, and that have as reference the corporal experience in the dramatic work El hilo de Ariadna (of the Colombian artist Enrique Vargas, 1992): 1) to the opacity of the scenarios in that, follows the opacity of the interfaces here; 2) to the use of other senses to locate and cross the labyrinth in that, follows the requirement of hearing to enter into the interactive objects here (virtual galleries); and 3) the touch was also included in this strategy, because the user, having to use the mouse device to activate some functions of the interface, activates some tactile sensations. On the other hand, user participation is designed so that user interactivity is essential for its updating. Interactivity is present in the work in two ways: the first form is selective interactivity, when the user decides to enter the galleries each time he detects a sound that takes him to that entrance. The second form is the participatory interactivity, when the user decides to write a post based on their experience in a gallery.

Source: ELO Conference 2017

The aim of this interdisciplinary practice-based artistic investigation has been to create a multi-linguistic and interactive online poetic narrative, The Poem that Crossed the Atlantic, and this accompanying website. The Poem is fed by the stories gathered in the website through uploaded posts. The interlacing of the stories will increase with the number of posts. Its main inspiration has been a personal story rooted in historical events of the Spanish Civil War and the Spanish and Chilean Historical Memory, interconnected with the involvement of the Chilean poet Pablo Neruda in the evacuation and rescue of 2,200 Spanish civil war exiles- including my own grandfather- from French concentration camps to Valparaiso, Chile, in the Winnipeg ship in 1939.

(Source: http://winnipeg.mariamencia.com/#winnipeg)

Lips is a videopoem about the visualization of lips in human body organs, daily objects and machines. A couple communicates through a webcam. The woman recites a poem in Spanish language while the translation of the poem in English appears in the screen with animated letters.

This avant garde videopoem was filmed for a Spanish television channel of left wing ideology named Tele K and took part of a program dedicated to poetry called Show de Rimas. This poem was also exhibited in EPoetry London 2013 in a poster. As a concrete poem, it had the shape of lips. The poem has also been published in the poetry book "Danza Submarina" by Maya Zalbidea Paniagua (Publisher: Huerga y Fierro 2015).

Poem 21 is based on a 1986 William Barton program (in English) called “The Mad Poet,” published in Commodore Power/Play but later redone with different Spanish words by Amìlcar Romaro. His Spanish version, Poema 21, was published in 1988 in the magazine K64. This is the first of two alternative sets of data given in that issue. The following are available: The original (Spanish) BASIC program, the translated (English) BASIC program, the original program as a PRG file, and the translated program as a PRG file. The PRG files can be run on Commodore 64 emulators; an in-browser emulator (VICE.js) is provided in the current publication. Translation to English by Nick Montfort.

Radikal Karaoke is an online device intended to allow any user to deliver political speeches. Politics worldwide is almost exclusively devoted to rhetoric and speeches are structured on emphatic and demagogic formulae, linguistic clichés that reproduce themselves as viruses.

By mechanically repeating slogans we have turned ourselves into an automated society. It is not we who speak, but others that speak through us. Radikal Karaoke aims to interrogate hegemonic discourses. It contrasts the desire for utopia and the everyday, revolutionary spirit and scam.

Digital poemas based on the book Tesauro (Thesaurus), which was published by the National Council for the Culture and Arts (CONACULTA) in 2010.
The first section of this poetry book won the First Prize for Poetry Contest of Magazine “Punto de Partida” of the National Autonomous University of Mexico (UNAM).
Some of this digital poems in their printed form are part of the book in Visual Mexican Poetry: The Transfigured Word, a collection of five artist-books published by the National Council for the Culture and Arts (CONACULTA).
(Source: http://www.poetronica.net/digitalpoetry.html)

Tatuaje is a born-digital short story, created in a lab carried out at Centro de Cultura Digital in Mexico City. The development, design, writing, and programming of this transmedial short story is thanks to a great team of writers, illustrators, designers, and engineers. Tatuaje is a work designed specifically for digital platforms, interweaving myths emerged and disseminated on the Web. The design refers to 90s web design, a graphic aesthetic only present on the Internet. The work itself turns the media into its own language.

This work creates an interactive drag-and-drop interface to perform keyword searches in Twitter and produce a manipulable visual mapping of the results. The hashtag/keywords used by Villegas are related to poetry, music, and suffering, which when selected produce a snapshot of recent tweets on the subject. Combining keywords narrows the search, offering more thematically focused results. Part of the fun of this work is in how it arranges the results into moveable lines, so readers can experience them in different sequences, placing the tweets in conversation as they form a kind of line constellation. The limits placed on the search, along with the juxtaposition of lines, and a design that responds to the reader’s clicking and dragging motions, results in a focused authorial poetic experience, though drawn from the endlessly vast and ever-changing Twitter stream. (Source: http://collection.eliterature.org/3/work.html?work=poetuiteame)

In Eugenio Tisselli's own words, "[t]he global financial dictatorship presents us with a paradox: while the economic transactions capable of shifting the destinies of entire countries are the result of performative language, it is language itself that, in turn, is transformed and subjected to the flows of financial markets." In 1917, Article 27 of the Mexican Constitution declared all land to be property of the people. This law protecting indigenous territories and communal modes of living was altered in 1992 as the North American Free Trade Agreement (NAFTA) was signed into existence. El 27 || The 27th procedurally allegorizes the slow encroachment of finance capitalism and linguistic colonialism in to Mexican political life. Ever day that the New York Stock Exchange closes with a positive percent, a section of Article 27 of the Mexican Constitution is translated from Spanish into a highly distorted computer-generated English. The work is a simply yet scathing expression of the loss of Mexican culture and political autonomy in the wake of NAFTA under the excesses of computational capitalism. The erosion of Mexican soil and culture at the hands of ultrafast algorithmic trading and linguistic robots will eventually terminate in a nonhuman textual landscape of speculative nonsense. (Source: ELC 3's Editorial Statement)