I am thrilled to share that my first set of #SELFIEPOETRY poems, part of my “Fake Art Histories and the Inscription of the Digital Self” e-lit project, will be on display at CODE/SWITCH, a multimedia art exhibition at Woman Made Gallery in Chicago, from May 27 to July 28, 2016.

cs_final3As described by the WMG team, “In linguistics, code-switching occurs when a speaker alternates between two or more languages, or language varieties, in the context of a single conversation. But beyond this connotation, code-switching is a phenomenon that references any way in which we subtly, reflexively change how we present ourselves. It becomes a means of expressing different parts of our individual identities, in different cultural and linguistic spaces. Highlighting this spectrum of code-based art, the work in code/switch will explore technology as subject as well as medium, and will offer a  survey  of  art  that  critically  reflects  on  the creative  use  of  tech, through a socio-cultural lens. This immersive and interactive exhibition seeks to bring together a range of artists, filmmakers, architects, designers, musicians and game developers, all pushing the boundaries of their fields using digital media.”

If you are around the Chicago area, or if you fancy a summer trip, please stop by Woman Made Gallery to see some cool digital art!!

Woman Made Gallery
685 N. Milwaukee Ave. Chicago, IL 60642
Wed-Fri: 11a-6p
Sat-Sun: 12p-4p

selfiepoetry at codeswitch

E-lit at the DH Faire 2016

Last Wednesday I was happy to participate at the 3rd Digital Humanities Faire at Berkeley–and I am even happier to report that the Faire was a total success! Thanks to the Berkeley DH team for making this happen! (yay, Camille and Scott!)

Together with the talented Steph Lie, I talked about the making of No Legacy || Literatura electrónica, thinking particularly about this exhibit as a research project, one that should also be understood as process. If anything, I was interested in highlighting the radical nature of this claim when applied to literature, as this literary project involved the work of a huge network of experts in different disciplines, ranging from engineering to the digital arts. A type of procedural work that is intrinsic to the DH field, but not so much to literature. The talk was not recorded, but here are the Slides I showed:

…and this is more or less what I said: DHFaire1DHFaire2DHFaire3DHFaire4

Sharing our round table discussion, Lisa Wymore talked about her dance projects such as the Smith/Wymore Disappearing Acts company and their semi-intelligent computer system, and Rita Lucarelli talked about 3D modelling for Egyptian hieroglyph deciphering. It was fascinating to learn how all our three talks engaged with the idea of writing as an embodied experience, existing in ancient sarcophagus, the dancing human body, or the electric beauty of legacy computers and iPads.

After the talk, my e-lit undergraduate students participated at the Faire’s poster session where they shared their terrific work. They curated their classmates’ pieces, and they designed these beautiful posters: group 1poster poster group 2

It really was a terrific day celebrating DH and E-Lit on campus!



Questions? Talk to Our Docent

docentcardAlmost three weeks have passed since the opening of No Legacy || Literatura Electrónica, and while we wait for the second phase to be in place (we are working on having a website component that will expand the visitor’s experience via QR codes, by offering further curatorial and catalogue information), I am happy to announce that we have a new student docent to show you around the show!

SamLabelSam Hunnicutt will be on site at the gallery every Monday, Wednesday, Friday, Saturday and Sunday, from 2 to 3pm, ready to answer any questions you may have, or to guide you around the installations in our collection–which include works like Nick Montfort’s Taroko Gorge, Jorge Carrión’s Crónica de viaje, Eugenio Tisselli’s The 27th/El 27, Giselle Beiguelman’s O Livro depois do Livro, Amaranth Borsuk and Brad Bouse’s Between Page and Screen, and Judy Malloy’s its name was Penelope, among many more!

No Legacy || Literatura Electrónica runs through August, 2016, and is located at the Brown Gallery in Doe Library (UC Berkeley campus). Come visit! Check lib.berkeley.edu for hours.

No Legacy || Literatura Electrónica. On photo: Concretoons by Benjamín Moreno, on top of No Legacy’s custom display inspired by Ana María Uribe’s Anipoemas
el 27
No Legacy || Literatura Electrónica. On photo: Poemas no meio do caminho by Rui Torres (left), Crónica de viaje by Jorge Carrión (center), and The 27th/El 27 by Eugenio Tisselli (right).
No Legacy || Literatura Electrónica. On photo: Giselle Beiguelman’s O Livro depois do Livro/ The Book after the Book, nested in No Legacy’s custom made spiral bookcase
No Legacy || Literatura Electrónica. On photo: Belén Gache’s WordToys & J.R Carpenter’s Etheric Ocean (left), Judy Malloy’s it’s name was Penelope (center) and Stuart Moulthrop’s Victory Garden (right), all under the guiding principles of No Legacy’s Aleph

Alternativas a la (ciencia) ficción en España ||Alternative (Science) Fictions

[ES] Tengo el gusto de compartir con vosotros un artículo que acabo de publicar en un especial sobre literatura electrónica en español en Letras Hispanas, “Paperless Text: Digital Storytelling in Latin America and Spain (1976-2016)”, bajo la edición de Osvlado Cleger y Phillip Penix-Tadsen.

Mi texto, “Alternativas a la (ciencia) ficción en España: dos ejemplos de literatura electrónica en formato impreso” busca delinear el origen digital de la literatura impresa, explorando dos manifestaciones de prácticas computacionales y literatura electrónica en formato impreso publicadas en España: las novelas de ciencia ficción Alba Cromm (2010) de Vicente Luis Mora y Cero absoluto (2005) de Javier Fernández. La primera parte del ensayo conceptualiza estas novelas como encarnaciones materiales de ficción digital, redefiniendo el concepto de “literatura electrónica” como uno independiente de la plataforma desde la que se consume—más allá de la producción born digital—incluyendo, por tanto, instancias de texto impreso. La segunda parte contextualiza estas prácticas narrativas dentro de su entorno español inmediato, proponiédolas como rechazo del canon literario de la post-transición.

Aquí podéis descargar el artículo completo.

[EN] I am happy to share with you my article “Alternative (Science) Fictions: Two Examples of Printed Electronic Literature in Spain”, published in the special issue Paperless Text: Digital Storytelling in Latin America and Spain (1976-2016)” of Letras Hispanas, edited by Osvlado Cleger and Phillip Penix-Tadsen.

My article, written in Spanish (but that I will gladly share in English upon request) delineates the digital core of contemporary print literature, exploring two similar manifestations of computational practices and electronic literature in print from Spain: the science fiction novels Alba Cromm (2010) by Vicente Luis Mora and Cero absoluto (2005) by Javier Fernández. The first part of this essay conceptualizes these two Spanish novels as material embodiments of digital fiction, redefining the concept of “electronic literature” as independent from the platform from which it is consumed—rather than a “born digital” performance—including instances of printed text. The second part of the essay contextualizes these new material writing practices within their immediate Spanish context, proposing them as a rejection of the prevalent literary canon in Spain.

Full text here (in Spanish).

No Legacy || Opening Symposium

No.LEGACY_Symposium flyer

To celebrate the opening of the e-lit exhibit No Legacy || Literatura electrónica at UC Berkeley’s Doe Library, please join us in two round tables discussing critical approaches to electronic literature (at the Berkeley Institute for Data Science). In the afternoon, at 5:30 (at the Morrison Library), we’ll have an artist spotlight where two digital poets will offer readings of their work, followed by an opening tour of the exhibition space (Brown Gallery, Doe Library).

The two round tables will discuss the two main argumentative lines behind the curatorship of No Legacy: (1) material considerations about electronic literature (literary histories as compared to literary archeologies) with Dene Grigar, Élika Ortega and Roberto Cruz Arzabal, and (2) transatlantic and translinguistic perspectives in the study of global literature with Leonardo Flores, Sandy Baldwin, and myself. Invited artists, include U.S. poet Amaranth Borsuk, and Peruvian-Venezuelan writer Doménico Chiappe.

Please visit nolegacy.berkeley.edu in March for further details and speaker’s bios.

To watch the symposium live, please visit BIDS YouTube channel [streaming begins at 10am PST]

Fin de La condición || Bye bye La condición

I decided to migrate my blog La condición to this space hoping to streamline my work. Things should be easier this way; all my stuff in one place. I won’t delete the older site for a while, but I will not be updating anything there ever again. If you want to learn about what I am up to, please visit this site (or twitter, obviously). Thanks for reading!


He dedidido migrar mi blog La condición a esta web para aglutinar todo mi trabajo en un mismo lugar. Creo que así será todo un poquito más sencillo. No voy a eliminar el blog antiguo de momento pero ya no actualizaré su contenido. Si quieren saber en qué ando, hagan el favor de visitar este sitio (o twitter, claro). ¡Gracias por su lectura!


**please view and listen to poems through a desktop computer, they won’t work on mobile devices**

#SELFIEPOETRY: Fake Art Histories & the Inscription of the Digital Self” is an on going series of e-poems that I’ve recently started to write (although write might not be the right word to use), using the online platform NewHive–which I was basically testing to see if it would be a good teaching tool for my e-lit course next year.** However, I got hooked, and I began working on a series of poems that combines a few of my current intellectual interests: the (un)truth behind artistic or literary histories and our (il)legitimacy to intervene and organize events to create narratives that “make sense,” vs. the interpretative role of the recipient of said narratives. I’m also pretty intrigued by the roles assigned to the producer of art and its consumers, roles that have been traditionally separate and that have begun to blend and blur indistinguishably thanks to their performance on digital media. Consumers subjectivity and representation has turned into a very particular way of individual signaling, turning the subject into an object of massive amateur (some have called it “democratizing”) representation and distribution. The self (and the photographic image of the self) keeps reappearing in different digital platforms, inscribing itself through the space and time of the Web. In other words, we are obsessed with our faces (and this obsession goes well beyond taking photos in the bathroom).

My #SELFIEPOETRY series looks thus at some ways in which the inscription of the self (in today’s paradigmatic digital manifestation, i.e.: the selfie) can be reinterpreted against a very vague and unorthodox selection of artistic and literary trends. As of today, there are 8 poems, each constituting an intervention in a different movement. They also touch upon some very personal matters, since I am intrigued by the many ways in which people today share their personal lives online.

Dreamtigers tigers tigers

dreamtigers nh

Dreamtigers tigers tigers is the first poem I wrote, as an obvious homage to Jorge Luis Borges. Taking into consideration the latest and controversial conceptualist interventions in and around his work, I felt the urge to explore it myself. The poem consists on a recording of my reading of Borges’s “Dreamtigers” (as it was included in the collection with the same title–El hacedor in Spanish). I didn’t change anything in the text, I simply copied and pasted the English version (the original, btw), and then read it twice, first in English and then in Spanish. The voice recording loops endlessly going back and forth between both languages, and it’s interrupted by a documentary video on the last wild tigers on Earth. Footage of real tigers interrupts the imaginary summoning of Borges’s tiger (although this YouTube video is zone restricted and it is only viewable in the United States and some other English speaking countries. Very pertinently, Copyright policies ban its reproduction in Spain or Mexico, for instance, making this poem about intertextuality and appropriationism even more relevant to my purposes). My sound recording includes some repetitions and some strange, Spanish inflected pronunciation, as a means to highlight the struggles of vocalizing in a (not so) foreign language. Finally, in order to mesh the critical discourse on digital originality with the role of the so-called pronsumer, I incorporated about 8 copies of the same selfie image showing my face partially hidden by a shot of a tiger running.


futurismo cover

I like to think of Futurismo as a funny (and eerie) commentary on all things avant-garde. Futurism, both as an artistic and a literary movement, is one of those very dated expressions, easy to identify at a first glance, and quickly associated to ideas like “speed,” “machines,” “progress,” “war,” and “industrialism”. It takes us back to a concrete moment in Western history, characterized by revolutions (political and mechanic) and artistic manifestos.

I was reading Digital Memory and the Archive by Wolfgang Ernst at the time of writing this poem, and I was struck by his figure of the “cold gaze” of the machine that explains how, while human subjectivity and historical circumstances change (turning human memory into a matter of representation) agency in a machine is not pure abstraction any more, but becomes an (algorithmic-based) unchangeable reading of the past. According to Ernst, technical media then records time and acts as a time-machine between times and the past (literally, he talks about a media-archaeological short-circuit between otherwise historically clearly separated times). I am fascinated by the idea of machines short-circuiting history, and about the poetic capacity of digital performativity to bring the past to the same reproductive reality of the present. Periodization is underscored as the human invention that it is, in the same way that other artificial constructs are. The personal dimension of this poem engages with the idea of monogamy and “the one and only true love,” suggested to be a social convention that can perhaps be periodized (or dated) in the same way as a futurist manifesto.

The poem includes my selfie next to a photo of a handwritten poem, superimposed over images of metallic engine parts and gears. The poem breaks into an animated spiral, and my voice reads the poem 10 times, partially muffled by machine sounds. The poem itself goes on for about 10 hours.

Sensitive But Unclassified (SBU)

sub cover

This is a poem about immigration in the United States. Or about my migration to the United States. It is also a piece about one of the most important poets in the country, our friend of Leaves of Grass and “America,” Walt Whitman, and about his portraying of American identity and sexuality.  To write it I made my computer Fred read Whitman’s entry on Wikipedia while I drew some doodles on the screen (basically, I write the word America and draw little blue and red stars and dots over the Wikipedia page, I also underscore the words “sexuality,” “sexual,” and “politics,” and draw a red circle around “race”). As Fred reads about the life of this 19th century (trascendental-realist) poet, me and my American husband read his “Poem of Women.” After I read each stanza, his male voice repeats my words. However, things are hard to hear, since everything becomes muffled by a loud white noise. Finally, the photographs I used for my visa application multiply and rotate on the screen. No makeup, no hair products, no glasses, no smile.

I am not going to interpret this poem.

The Democratic Value of Art Making 


Since the series is about selfies, the background image of this poem is a repurposed Instagram photo. On a beach, looking into a vague horizon (we’ve all seen/taken photos with this pose). Two sentences cross over the screen, moving from left to right (not perfectly however). Some meditation Tibetan chimes play in the background. Although the words that run across the screen in Spanish are self animated, the poem requires interaction. I’ve included some play buttons (and some redundant and spam-like “Click!” signs) that allow the user to play my voice reading the sentences in English. The user can push the buttons as she likes, making me repeat the words as many times as she wants. She can also bring the voices back to life by pressing the red play button that produces a heartbeat.

This poem was made in less than half hour. I didn’t pay for anything, yet I used plenty of resources. I’m not going to read more into it either.

The Measure of All Things 

 “Your Digital Presence is the Measure of All Things” is written over da Vinci‘s Vitruvian Man. According to the Encyclopaedia Britannica online, “Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm).” The Renaissance belief in the human body as an analogy of the universe is confronted with today’s representation of the selfie in the Web.
This time, I made a series of videos of myself reading Garcilaso de la Vega’s “Soneto XXIII,” a very well-known poem by this influential solider-writer who introduced Italian Renaissance poetry to Spain during the Golden Age. From tragic courtly love of medieval empires to teenagers’ Youtube vlogs. 

Here is an anonymous translation of the sonnet I found in John A. Crow’s anthology of Spanish Poetry (it’s not the best, but it’s free):

The soft shades of the lily and red rose
Show their sweet colors on thy chaste warm cheek,
Thy radiant looks, so tender and so meek
Arouse the heart yet hold it in response.
And as thy hair like strands of gold now glows
Casting its sheen upon thy neck so white,
Touched by the breeze that stirs and gives them light
Thy tresses in wild disarray do blow.
Pluck off the ripe fruit of thy joyous spring
Before time with its swift and angry sting
Covers thy precious head with lasting snow.
The icy wind will chill the tender rose,
And fleeting years bring change to everything

That Nature’s law might keep its ordered flow.

No Weekend Wi-Fi, un cuadro costumbrista (US of A)

weekend wifi

A costumbrismo snap shot of a coffee shop scene in the San Francisco Bay Area, November 15, 2015. Believe it or not, this breakfast place had no wi-fi available on Sundays.

In reality, No Weekend Wi-Fi is nothing else but a tongue-in-cheek commentary on the current trend I’ve observed in contemporary poetry (and music, and film) that presents completely banal and unimportant things as if they were, actually, of trascendental relevance to all of us. By making this poem (and incorporating the texts that my husband and I wrote in basically the 10 minutes we were in this café) I am reclaiming my right to participate in this useless trend.

Animated photo GIFs over a pixelated copy of Hopper’s Nighthawks, plus written text and two playable audio files.

City of Eléi 

city of elei cover

This little poem engages with the culture of boleros (although I’m not completely sure about the status of this slow-tempo music in art history).

I recuperated an old poem I wrote about love, passports, ex-boyfriends, the city of Angels and Mexico, and I incorporated a beautiful GIF by Canek Zapata, and a video in 8 mm of my right eye as a biological sun in this digital beach. Seagulls and my humming over Lila Downs’s “Perfume de Gardenias” are part of the score. Music and water as transatlantic shared imaginaries in the Spanish speaking world.

I actually did incorporate credits for this one:

Background psychedelic GIF: Canek Zapata.
Text: Alex Saum, but with stolen bits 
from popular songs.
Crab: from the beaches of the interwebs.
Music: Lila Downs is singing “Perfume de 
gardenias” in the background, sort of.
Oh, and there is a series of copyrighted 
sounds and ads may pop up.

Pupila Romántica 

pupila cover

 “Pupila Romántica” reinterprets the famous “Rima XXI” by Spain’s last romantic poet, Gustavo Adolfo Bécquer, to make it about myself. I photographed my right pupil through the glass and through the screen four times, then animated the image to produce an artificial, mechanic, blinking.

My glasses have a special anti-reflective coating that is supposed to protect my eyes from the toxic lights of my computer. It’s said to be blue. I cannot see it, yet I believe it’s there, like a ray of moonlight. What can be more romantic than that?


I’ll be making more poems. I’ll be writing shorter blog posts. I might translate this post. Or make a video in Spanish. Stay tuned.

Update on April 4, 2016: I’ve started a new #selfiepoetry series (totally and necessarily incomplete) with the ridiculous name of  “Women & Capitalism”–under the equally ridiculous name of Selflex. Check it out!

If the Future Is Digital, Why Print a Book?

Last week I attended the international symposium “Reading Wide, Writing Wide in the Digital Age: Perspectives on Transliteratures” organized by the LEETHI group from the Complutense University of Madrid. It was a fantastic event where I had the opportunity to listen to very interesting work engaging electronic literature from very different perspectives, such as Vilashini Cooppan’s reading of e-lit as world literature, or Germán Sierra’s selection of digital objects that show how digital technologies have reshaped our conceptualization of reality [Here is a link to the complete program].

In my talk, “If the Future Is Digital, Why Print a Book?” I looked at how, while e-lit is a global phenomenon, in Spain it takes on additional importance as it allows writers to bypass the hierarchies that characterize Spanish cultural institutions. These institutions have been heavily supported by the State, and along with it have suffered a loss of legitimacy that is a consequence of 21st century financial crises. My talk explored several manifestations of computational writing practices emerging at the intersection of digital media technologies, electronic literature and traditional print. As I proposed, the digital-inspired work done by Jordi Carrión, Vicente Mora or Javier Fernández could, at a first glance, be framed as a rejection to the contemporary cultural canon, participating within some free culture movement ideas that manifest as digital remix or mashed-up creative practices. However, their paradoxical return-to-the-book, creating what I call “printed technotexts” (i.e. paper e-lit) highlights both the desire to escape the institutionalized canon, but also the necessity of being recognized by it and its “bookish” forms of authorship and power. In opposition to these, I proposed we look at born-digital works (e.g. Doménico Chiappe’s Hotel Minotauro) that have remained electronic and are accessed online. I wonder if these type of texts should be read as a form of liberation from the Author as creative agent, the book as platform, the current literary canon, and the Spanish publishing industry altogether. It seems, although I am still scared to affirm, that only born-digital literature will finally escape Spain’s literary paradigm (beyond the market) that has been in force for the past four decades.

Here are the slides for the talk (in Spanish)

And the works cited:

Becerra Mayor, David. La novela de la no-ideología: Introducción a la producción literaria del capitalismo avanzado en España. Madrid: Tierradenadie Ediciones, 2013.

Bunz, Mercedes. The Silent Revolution. New York: Palgrave Macmillan, 2014.

Castells, Manuel. Networks of Outrage and Hope: Social Movements in the Internet age. Cambridge: Polity, 2012.

Carrión, Jordi. Crónica de viaje. Córdoba: Aristas Martínez, 2014.

Chiappe, Doménico. Hotel Minotauro. 2013. Web. 16 Jul.2015.

Cramer, Florian. Anti-Media: Ephemera on Speculative Arts. Rotterdam: nai010 publishers, 2013.

Drucker, Johanna. The Century of Artists’ Books. New York: Granary Books, 1994.

Emerson, Lori. Reading Writing Interfaces: From the Digital to the Bookbound. Minneapolis: University of Minnesota Press, 2014.

Ernst, Wolfgang. Digital Memory and the Archive. Minneápolis: University of Minnesota Press, 2013

Hayles, N. Katherine. “Electronic Literature: What is it?” Electronic Literature Organization. 1.2 (2007): n.p. Web 15 Nov. 2013.
________Writing Machines. Cambridge: MIT Press, 2002.

Fernández, Javier. Cero absoluto. Córdoba: Berenice, 2005

Martínez, Guillem. “El concepto CT,” CT o la cultura de la transición: Crítica a 35 años de cultura española. Ed. Guillem Martínez. Barcelona: Penguin Random House Mondadori, 2012.

Minchinela, Raúl. “La CT y la cultura digital: cómo dar la espalda a internet,” CT o la cultura de la transición: Crítica a 35 años de cultura española. Ed. Guillem Martínez. Barcelona: Penguin Random House Mondadori, 2012.

Mora, Vicente Luis. Alba Cromm. Barcelona: Seix Barral, 2010.

Vázquez Montalbán, Manuel. La literatura en la construcción de la ciudad democrática. Barcelona: Grijalbo-Mondadori, 1998.

Teaching E-Lit and DH: Plataformas de la imaginación

Last week I had the wonderful opportunity of participating in the international symposium, Máquinas de inminencia, organized by UNAM’s lleomin Mexico City. This series of talks was part of their larger electronic literature project, Plataformas de la imaginación: Escenarios de la literatura electrónica (and, shameless plug here: also part of the even larger series of exhibits we are coordinating with Berkeley and Barcelona’s Hermeneia group).


Although I generally tend to favor speaking about my academic research, this time I decided to focus on a teaching project I have been working on for a while now related to the teaching of (Spanish) electronic literature in the US and its relationship to the fields of Digital Humanities and Spanish studies, as well as the University as a whole. What I propose in this talk (among many other things) is to perhaps start thinking electronic literature as a foreign literature, and as such, host it in foreign language departments within the University. These are important topics touching several aspects of the academic institution: curricular planning but also the administration and the social realm. I have been wondering lately if these teaching and administrative fields are not as important (perhaps even more important) than the type of research projects we tend to favor as professors in Research 1 universities.


Here are the slides I presented (in Spanish)—and hopefully there will be a video of the talk soon as well. I’m working on a translation of the talk, and I hope to share it (or publish it) in the future.

[Y ahora en español]


La semana pasada tuve la maravillosa oportunidad de participar en el simposio internacional, Máquinas de inminencia, organizado por el Laboratorio de literaturas extendidas y otras materialidades de la UNAM, como parte de las actividades que componen su proyecto Plataformas para la imaginación: Escenarios de la literatura electrónica (parte del proyecto aún más amplio sobre exposiciones de literatura electrónica que incluye nuestra muestra en Berkeley y la próxima a cargo del grupo Hermeneia en Barcelona).


Aunque no suelo hacer este tipo de intervenciones (prefiriendo presentar otro tipo de ideas relacionadas con mi investigación académica y no con la pedagogía), decidí presentar un ensayo sobre un proyecto docente en el que ando involucrada ahora mismo. Lo que digo en la charla (en especial aquello de pensar la literatura electrónica como una literatura extranjera, y ubicarla entonces en los departamentos de idiomas) me parece importante tanto a nivel curricular como administrativo y social. A veces me pregunto si esto no serán cosas tan o más importantes que la otra labor académica a la que nos dedicamos los profesores.


Ahí arriba os dejo las diapositivas de la charla; con suerte pronto habrá un vídeo para compartir también.