Secrets, a pedagogic tool for e-lit practices| ELO Montreal 2018


Bonjour! First I would like to thank ELO team organizers in Montreal, The University du Quebec and ELO organization, for hosting us in this gorgeous city.  

I am privileged and honored for having the opportunity to share this paper with this delightful audience of academics, thinkers and artists.  Mercy Beaucoup

Thanks Lori Emerson for sharing her presentation “Against ‘Lab’ as Free-Floating Signifier” with me. Kathi Imman Beren and Rika Colpeart for her suport and feedback.

My name is Vinicius Marquet, I am independent designer, researcher, author and so on. All previous features and my name, both can be attached to my cv and to my passport, respectively. Today I prefer being called just as Nosotros (we) or as Nadie (nobody):

Nosotros make this project possible.

Nadie is the owner of this project and the secret collection.

This presentation is called “Secrets, a pedagogic tool for e-lit practices”  this paper aims to contribute a theoretical framework model for workshops and accessible pedagogic tools regarding electronic literature theories and art practices. This proposal is based on memories of “Cuéntanos un Secreto ” project – Tell me a secret project– . It focus in two different objets: the workshop, that is probably the most valuable element of the project since this activates the social cultural exchange of experiences. And two samples of pedagogic material used during the workshop while we explore e-lit practices and digital culture.

Those theories and art samples are coming from Ulises Carrión and Augusto de Campos. Both of them, fundamental artists and thinkers that question written language and its dissemination.  

Finally, I’ll present Los discretos collection, a self contained secrets collection as a way of conclusion. 


1.I ll be your mirror
Nico and the Velvet Underground

Arcano, latin arcanus Secret or mystery

Tell us a secret project (TuSp) is a secret sharing project between communities during a visual communication workshop. The workshop explores visual depiction in form of illustrations, animations, videos and electronic objets that enlighten text stories in form of secrets.

Secret constitution 

As result, the project holds an extensive archive of popular storytelling, composed by text and graphic elements. Both of them, the original text and its depiction are considered a secret. 

Fabrica de artes y oficios Oriente (FARO )  Art and craft factory, West . It is well known as Faro wich means lighthouse . There are around 6 Faros around Mexico city.  None of those belong to the mainstream-confort cultural zone of the city.  

The project, itself, is a tool for self explorations and expression

The project was born in 2012 when I was the leader of the design workshop at Faro de Oriente in Mexico city. Since then, the main objective of the project was to link communities by sharing their secrets during the workshop.

TuSp rather of being an objective or a destination. It has been always a process and playful place  to experiment visuality. As the project advanced, our archive grew up.  Then it became necessary to preserve and distribute the secrets by using diverse methods and techniques: printing small publications — as posters, flyers invitations and digital zines —  A website, that I haven’t updated yet  And doing small exhibitions and presentations about the secret project.

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Until this moment,  we have done communities as, internet user, military young scholars, nurses schools , art schools, women in jail, retired old people, galleries and so on.

The project holds, mostly, secrets in Spanish from Mexico city, but the collection owns, few samples in english, italian, dutch, turkish, portuguese and korean as well. This international collection  or “Encryptor (prototype)” are even a secret for myself, a Spanish native speaker

The project has three main objectives:

  • Explore visual communication through narratives applied in diverse visual manifestations 
  • Build communities by exchanging anonymous hidden experiences
  • Preserve and distribute popular story telling  in form of secrets.

Generally, as introduction to the visual communication workshop, we explore visuality by drawing. Those visual exercises are most of them based on Betty Edwards theories “Drawing on the right side of the brain”  while, as principle, they explore visuality to understand reality rather than looking to draw a good copy of reality. Her theories far to understand drawing as a virtuoso gift, find in drawing a way to explore, communicate and validate your visual world

Some other exercises comes by  reviewing elemental concepts of design and visual communication as: format, size, direction,  texture, color, readability and so on  coming from Bruno Munari or Wucious Wong .

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Nevertheless, as you previously have seen, we have used secrets depiction to explore a big array of objets and activities in diverse communities: from 5 years old kids to women in prison . Each community is contextualized by its own needs and characteristic. Thereby the workshop looks to adapt and develop content for the community needs and characteristics. 

Tell us a secret project framework

For the project framework,  I call this flexible feature of the study content ESO or Exchangeable Study Objet. This allow the secret project being always open to the visual needs of the community.

Besides the community rules, throughout the workshop there is only two guideline that rules :

” you don’t choose the secret . The secret has chosen you”

We randomly distribute the secrets, enclosed by a white envelop. Each secret is unique  as the experience of open it. 

By this guide line, we also mean that the secret is trying to tell you something, that you need to enlighten. Observe what does the blank space of the letters saids.  Perceive the manners of how the author is telling you the story?  Who do you think is this anonymous author ? Where does the author lives ? What is the authors gender?  How old is the author?  Do you have similar experience in your experience repertoire?  Etc.

The secret has chosen you to be depicted, listen the secret story. 

As the secret has chosen you, you need to respect  the story and finish its depiction before you open a new secret.

The other guideline is that all secrets and their depictions are anonymous.  At the end of workshop we ask volunteers to donate an anonymous secrets in order to continue with the workflow. This is done by Nosotros. 

This anonymous feature looks to preserves the originality of the secret and the ownership of the collection. This belongs to Nadie. 

Sharing a secret creates an intimate experience that easily last in the memory of participants And therefore it can bound this experience with any knowledge that workshop offers . By this I mean the pedagogue works comes by creating unique experiences that links knowledge with participants



“Ya lo dijo Freud no me acuerdo en que lado
Solo la experiencia que he experimentado”

“It is said by Freud, I don’t remember exactly where,
It is just about the experience that I experienced”

Rockdrigo Gónzales
El profeta del nopal

In the book the Great didactic, Comenio, the philosopher and pedagogue appeals to our sense as the bastion for modern teaching. He saids ” Everything should, as far as posible, be placed before the sense. Everything visible should be brought before the organ of sight, everything audible before of the organ of hearing . Odours should be placed before the sense of smell, and things that are tastable and tangible before de sense of taste and touch respectively ” (Comenio, 1638)  This is not only a sensual approach to reality,  In fact, and from a materialistic perspective, this is the only way for us to communicate with reality, by our sense.  So, How can we learn if we are not connected with our environment or the other?  How can we teach if we don’t experience the materiality of our study objets ?

So practice has been the most primitive and effective way for learning and teaching. As an example , Looking at my nephew Mateo… – a 6 month old beauty – I would say if tasting, making and imitating is not the oldest pedagogue method, it might be the most natural and primitive way to experiment with the vast outside world. In this moment of his short life, everything is eatable, his mouth is constantly looking for a new experience. Maybe, in his short memory, everything still being just a big breast for him.

Here, under the umbrella of experimenting and doing sensorial the learning process, I would like to talk about the workshop.

Last month I attended a delightful talk called “Against ‘Lab’ as Free-Floating Signifier … “by Lori Emerson at DH18.  The talk inspired to me a couple of thoughts regarding this tendency to call everything a Lab.  –Just here in front of this facilities of UAQM there is a bar named Lab.– 

My first thought, it was about the next image.

ACTLab  |  Codeswitch Paraplu

 This image is coming from the Act Lab in Austin Tx.  The lab was directed by Sandy Stone,  The image illustrates the term “codeswitching “, meaning in words of Stone ,”the umbrella translates experimental, Trans-ish language into case words, institutional language”

Somehow, this describes perfectly the main idea about Cuéntanos un secreto workshop. – and perhaps of education – So I did this new image trying to illustrate some socio cultural differences.


In essence it still being the same: the work of the umbrella/ lab/workshop is to create a neutral and open space for experimentation by  translating  this “experimentation” into administrative and institutional words. Also this means to neutralize the outside world, allowing the fellows participants to study.   

Safe the students from crime, cartels, weapons, drugs but also from money loans and a huge list outside reality objets and stories .  By this,   I mean far of being a protective space, this is a space where imagination needs to happen: as white sheet of paper. 


Tell me a secret workshop is the golden bastion of the project : It is during the workshop when we do community and we build trust based in daily experiences. As a docent I  wonder to my self  How can I provide with meaningful experiences with lack of trust?  How dare I ask for confidence if I don’t create a human experience ? How can we forget that the learning process is based on the experience with the otherness ? Without otherness We just don’t exist.  Our learning process is based on sharing experiences with the other and , therefore, building community. We are Nosotros.

The workshop and the lab, both are places to do community by creating knowledge. It is an umbrella that provides a free and neutral space to experiment with knowledge.

My second thought, it was about looking for difference between labs and workshops, or atelier.  This predominant scientific validation of Reality provokes a fashionable idea of calling everything a lab, while not everything is Science and science is not Everything. Nevertheless, when we look at the history of the Atelliers  We find a substancial element of the society from the medieval times until the beginning  of the industrial revolution, previous to the mass production of students at the schools.  The workshop was not only a place where knowledge and work was happening and distributed, it was the community ensemble for society.  Surely, this deserves deeper thoughts and discussion. 

Looking forward for the next years, in this transitional historical context, I wonder How different could be a workshop and labs ? 


  • As my sister said: What it is not practices and experienced, does not exist.
  • A workshop is a free and neutral space to experiment with knowledge


Love is  New
Love is Old

or nothing is old , nothing is new 


The Beatles

There are diverse samples coming from book history and written language that can provide with phenomenological context  to understand the mutation of the book and  written language into the Networking and programable media.[3]

Johana Drucker in her book “Grammatology”  provides diverse samples coming from graphic design, book history and cinema theory . Also in “Uncreative Writing”  Kenneth Goldsmith brought an extensive framework of samples mostly coming the visual arts. 

Those samples rather than exemplify e-lit practices or digital culture into the futuristic new land of never ending tech. It contextualizes digital culture into the critical eyes of history. And place the computation practices into the ground of culture, where technology is a result of the human being.

Those examples are simple but in deep they condensed complex linguistic and media theories as the concept of the eventualize text by Katherine Hayles or Marshal Mcluhan ideas about  ” The medium is  the message.” Among some others structuralist theorist. 

By instance,  The New Art of Making books by Ulises Carrión and the Concrete Poetry manifesto by Augusto de Campos. Both examples coming from the Art field – as manifestos. 

Here, I want to clarify  that both of them don’t use scientific method, in fact they don’t look to demonstrate nothing at all. They manifest; that is the beauty. – Also  Both “theories” are far of being just theoretical frameworks for reading. They are visible, tangible, usable and playful in diverse art pieces. So they ensemble theory and practice  Thereby, they can easily be  tracked, analyzed, compared, used  and played as pedagogue material.

 Original Picture by Jhon Liggins (1979)

Élika Ortega, in her essay “Not a case of words: Textual Environments and Multimateriality” (Ortega, 2017) , provides diverse examples about the impact of Carrion’s work for the textualities in the programable and networked media.

The new art of making books framed a fantastic cultural phenomena during the 60s, the Avant-gard practices for artist books or book-works, term named by Carrión to call those practices.The innovation of Carrion essay is by conceptualizing the ontology of the book , language and artist book practices.  The new art of making books in an essential theoretical framework for all those who wants to question the book as an objet and as cultural institution.

Download  “The New art of making books” (1975)

What makes a book book? What is a book ?  What is language? Does a rose means a rose or it is just the typical rose ? 

Just by opening the door to these questions, it is a tremendous advance for understanding the book and language beyond print media.

As Ortega also pointed in her essay,  the contribution of Ulises Carrion for understanding  the textualities in the network and programable media is by conceptualizing “the book as  an autonomous space-time sequences ” This definition brings an alternative for diverse cultural expressions: some of them literally genders but some others expressions thats appeals to its own symbolic language, as an ordenadour of symbols.


By instance, on 23 May 1983, Ulises perform an organized sight seeing tour around the dutch city of Arnhem and its surroundings countryside. The tour was based on the “real” love story from artist and his wife:  Ton and Ina.  The people who signed for  the tour were visiting the most important places of Ton and Ina’s love story : ” the first time where they met “  “when Ina’s father banned their love “  ” the first kiss” etc .  During the tour you were going from point A to point B and so on .

Love Story (1983) Ulise Carrión.


Acording to Harry Ruhè  in “Love Story” ( Ruhè, 1992) Ulises Carrion said: ” the city as organized chaos imbues the story with a clear  and perceptible structure . A tour around the city , along the story’s most important point s, as an aesthetic experience. ” 

Based on Carrion’s definition of a book “an autonomous space-time sequence,”(Carrión , 1975) then, Love story is an organized  sequence of moments contained in the city of Arnhem, fixed in time. The book as an autonomous reality close in time: May the 23, 1983

As a parallelism, this can easy be translated as sketch for user experience journey into the city.  A geo locative narrative app using augmented reality technology for tourism would do a similar approach to Carrion art piece: go from point a  to point b  and Tell a story . 

Next, in the concrete poetry manifesto the Brazilian Augusto de Campos described concrete poetry as “Tension of things-words in space-time”(Concrete poetry Manifesto, 1956)

One of my favorite example to illustrate this statement comes by experimenting the collection of Poémobiles (1968-1974) . In particular, a poem calls In/comunicable

Incomuni/cable (1968).Poémobiles collection

Base on paper pop-up technology,  In-comuni-cable (1968) is a folded paper card within it holds 3 paper-cuts layers .  Each layer, has it own text-content that shows itself in a consecutive order during the performance of opening the paper card. Inside the card, in the background layer is printed with red typography the word “in”.  The next layer saids “Comuni” And in the last layer is written the word “cable”. This last layer, cut by the horizontal axis, allows the layer to show the content of second layer ” Comuni” . This will only happen when the paper card is entirely open. By that moment, it is already too late,  the content of “cable “will not be readable any more.

In fact, the piece,  it’s only “communicated” when the paper card is close .  By that moment,  the reader can’t know the cards content. Once again the card cannot communicate.

In contrast , the art piece will not have any meaning without the active interaction of the reader. Only when the reader plays the poem, it finds its own meaning . Yet it is the “tension” linked between the consecutive 3 layers and the interaction that shows in- communicable as meaning, a metaphor. 

In 2006, in Time of digital poetry Katherine Hayles (Hayles, 2006) named the cyber text being “eventualized” being less discrete and self contained.  This eventualized text is procedural: it is the result of processes and it can trigger processes, as well by  human or non humans actors.  It is self contained text in space time.

From this perspective  De campos Poémobiles seems to be a UX paper prototype of  Katherine Hayle’s eventualized text.  In-comuni-cable is a self contained system and poem that signifies while it triggers its own process . 

3. Los discretos (The discretes) 

Screen Shot 2018-08-20 at 3.40.50 PM.png

This is an old digital collection named  Los discretos.  It was produced in Faro de Oriente  end 2012.  Back in those days, I was trying to replicated Anacrón structure to explain participants, and my self, the constitution of a digital buttom with 3 diverses states: normal, over and trigger. The main idea was to regard the semiotics relations  between those states used for narratives

At  the end , We, Nosotros, were so happy to regard the trans-button result of the experimentation. The same year it was exhibited in Faro de Orinete two times in Exponencial12 and Hoy mañana no se ha ido.

A year later in the Netherlands, reading for the first time Dr Katherine Hayles in Time for digital poetry,(Hayles, 2006) she was constantly mention the discretes refering  to those characters in print text media. Some how the idea facinated to me and I find an accurate name to contrast with that other “eventualized” text wich indedd means proceess. 

The same year – a bit later –  I was reading Roberto Simanowsky idea’s about the contradiction of Electronic literature in his essay “What is and to What End Do We Read Digital Literature?” (2009). He provided a great example using  a buttom , Bomb, in the hiperficcion Zeit für die Bombe by Susanne Berkenheger wich I found a funny gestesture because it is the name of the famous and constant poem of Augusto de Campos. Bomba

This performative idea of using digital buttoms states as a semiotical space regards the principles of concrete poetry manifesto : Tension of things-words in space-time.  Those states  works  in a systematic underastanding of the whole poem with the interaction – or action – as part of the poetic language 

Between both, I understood the relation that I was facing in the electronic secret collection of Faro de oriente . Since then I prefer to call this collection Los discretos ( the  discretes)  . Those self contained objet wich in performance aims to find or understand “the text”.  –or what ever does that means. –



“there will not be literature any more. There will be , perhaps , new ways to communicate  that will include language or will use language as basis. As a medium of communication , literature will always be old literature” Ulises Carrión 






  • Ortega Elika (2017) “Not a case of words: Textual Environments and Multimateriality in Between Page and Screen” in Electronic Book Review Journal  [Online] Available in :   [Acceded:19th August 2018]
  • Hayleys NK  (2006) The time of digital poetry : from objet to event  In Morris A & Swiss T (eds) New Media Poetics: Contexts, Technotexts, and Theories  Cambridge,  MIT Press .
  • Comenio, JA (1638) The Great Didactic Translated into English by by M. W. Keatinge, M.A. New York: Russell & Russell. (1967) [Online]Available from:  [Acceded:19th August 2018]
  • Simanowski, R (2009) What is and to What End Do We Read Digital Literature? [Online] Available from:  [Acceded: 25th February 2014]
  • Campos, A ( ca.1968)  Incomuni/cable [Online] in Poemamobiles Concreate poetry poem   Brazil  Available from: [Acceded 19th August 2018]
  • Carrion, U (1975) The New Art of Making Books in Kontext  6-7. New York: Center for books  arts  [Online] Available from,%20The%20New%20Art%20of%20Making%20Books.pdf [Acceded: 19th August 2018]
  • Carrión, U (1983) “Love Story.”  Video – Performance [Online] Available from  [Acceded: 19th August 2018]
  • Concrete Poetry Manifesto (1956) [Online] Translated  from the portuguese by Jhon Tolman . Brazil, São Paolo Available from [Acceded:19th August 2018]
  • Ruhé Harry, (1992) “Love Story” in We have won ! Haven’t we ?    Ed.  Guy Schraenen.  Museum Fordor,  The Netherlands,  Amsterdam.
  • Emerson, Lori (2018) “Against ‘Lab’ as Free-Floating Signifier: From Appropriation to Counter-Cooptation and Codeswitching” presented in Digital Humanities 18 “Puentes/Bridges” ADHO,  Mexico city .


Memory belongs to imagination: op_afspraack

For Rika
“Memory belongs to imagination”

Roland Barthles 


About the memory,  I just can’t remember exactly the day, the moment, somewhen, somehow, those events happend to me. It is dificult to me being precise.

But some how,  I can grasp the sensations around them.

So I did this Memory Mix Machine. This might look for a convinatory narrative that works as piece or clue to follow,  as a past lived event or a new uncoming memory.

This is the artfact

MMM: op_afspraack Click here 


This  memory machine is a prototype.

Please, Try it on Modzilla Othewise it might overlap its pictures



La memoria pertenece a la imaginación,

Roland Barthles 

Acerca de la memoria , yo simplemente no puedo recordar exactamente, algún momento, algún cuando o cómo  estos eventos me pasaron. Es difícil ser preciso.

Pero de alguna manera, puedo alcanzar las sensacionaes alrededor.

Por lo cual, hice esta Máquina Mezcladora de Memorias ,la cual  buscará combinaciones narrativas que funciones como piezas o pistas a seguir, como un evento vivido o un nueva memoria por venir .



La MMM es un prototipo.

Por favor  abrelo en Modzilla preferentemente .


Mapa Onírico


Hola a todos , les espero en mi próximo taller “Mapas Oníricos” el cual se realizará del 8-10 de junio  Trampa Gráfica en  Cd de México.

El taller  busca explorar los sueños y utilizar las capacidades multimedia  e hypertextuales de la web para la realización de una narración digital.

Durante el taller exploraremos técnicas de bocetaje que nos ayuden a visualizar nuestra narración . Después,   revisaremos conceptos básicos de HTML y CSS para la realización de nuestra experiencia onírica.

Espero puedan asistir al taller  y compartir tiempo , sueños y experiencia con nosotros.

Más sobre el taller , a continuación .


El taller , desde un punto de vista técnico, es una pequeña intro a css, html y js.  Ver temario .
Asi mismo , La Trampa pone el espacio en caso de nesecitar más sesiones . (1-2)


Ver fecha lugar y costo sobre el  taller:


Mapa Onírico

Taller de mapeo onírico

Palabras clave:

E-lit, Diseño Ux , Narrativas, Sketching, Prototipos , HTML, CSS

Taler práctico-teórico

Dirigido a artistas, escritores, diseñadores e interesados en el tema.

Cupo Máximo: 20 personas

Mínimo: 5 personas

Necesario Laptop

Num de horas: 12 horas


  • Resolver narrativas oníricas
  • Crear tu propio mapa onírico
  • Explorar técnicas de wireframing y mapeo
  • Introducción a Html y css


Taller que explora los sueños a través de narrativas digitales. Para esta edición en La trampa gráfica realizaremos objetos oníricos hechos en HTML5 que exploren las narrativas digitales.


Los sueños son parte substancial de la vida humana, en ellos pasamos una tercera parte de nuestro dia. Cuando algunas personas son incapaces de recordar sus propios sueños, otros tienen experiencias «consientes» o lúcidas durante ellos. Es complejo entender las razones por las cuales puede existir esta lucidez, sin embargo hay diversos factores fisiológicos, psíquicos y técnicas que podrían ayudarnos a tener este estado de conciencia en los sueños. Por ejemplo ,  escribir nuestros sueños tan rápido como despertamos podría ayudarnos a recordar mejor lo sucedido durante este estado de reposo.  .

Aveces los sueños parecen estar lejos de tener una lectura linear o una descripción estricta de lo sucedido. Nosotros utilizamos palabras escritas o habladas para expresar significado de lo que queremos transmitir pero también producimos imágenes, movimientos y sonidos para comunicarnos. En algunos casos estos elementos lingüísticos son difícil de describir. Nuestro lenguaje esta lleno de símbolos. Estos símbolos están llenos de significados personales y socio culturales . –psicólogos como Carl Jung han reflexionado profundamente al respecto–. Pero incluso, describiendo nuestros sueños aveces estamos lejos de alcanzar un entendimiento total de los mismos. En mi hipótesis, tal vez los sueños no son historias lineales o están constituidos de diversos elementos lingüísticos difícil de describir, cómo el olor del agua de tu ciudad oriunda, el sonido del mar en invierno o simplemente formas y sonidos abstractos.

El mapéo y el wireframing son herramientas de los diseñadores de UX e ingenieros para  entender procesos y sujetos en sistemas complejos. Estas herramientas nos dejan visualizar  de un vistazo el sistema por entero. También, podemos experimentar intuitivamente con los diversos elementos de una estructura. Por ejemplo, los utilizamos para entender el flujo eléctrico de un diagrama electrónico, los procesos en un línea de producto o las pantallas en la narrativa de un sítio web. 

Este taller llama para entender el sueño como un sistema. A través de la fragmentación en partes y re organización de nuestros sueños. Nosotros buscaremos aproximarnos de una manera holística que nos permita visualizar cada uno de los elementos  y la estructura de nuestros sueños.

Así mismo durante el curso exploraremos conceptos básicos de HTML5 yCSS (con una pizca de javascript). 

Este taller busca responder las siguiente preguntas :

¿ Son las técnicas de mapeo de UX una solución para entender mejor nuestros sueños?

¿Podemos mejorar las experiencia de nuestros sueños a través de estas técnicas ?

¿Como imaginamos el resultado de ésta textualidad electrónica?

Temario .

1.E-lit. El lenguaje en el espejo.

2. Técnicas de Ux Design:

-Wireframing ,

– Paper prototypes

– Flow chart

3. Código :  Conceptos básicos de HTML, CSS

  • Que es HTML?
  • Elementos básicos de HTML: head, title, body , div . 
  • Atributos de un elemento de HTML: Id,  alt, width, height, href , src , disabled
  • Etiquetas populares de HTML.
  • Qué es CSS ?
  • Sintax de CSS
  • Colocación de CSS 
  • Ayuda de nuestro amigo Javascript  | Metodología: ingeniería en reversa .
  • Colocación de código Javascript
  • Funciones pre-construidas de java script
  • Modificación de Javascript

4 Taller Onírico


  • Hayleys Katherine (2008) «Electronic literature, New horizons for literary»University of Notre Dame  Indiana USA
  • Carrion Ulises (1975) The New Art of making books. In Kontext 6-7. Center for books arts: New York. [Online] Available from: classes/artistsbooks/Ulises%20Carrion,%20The%20New%20Art%20of%20Making %20Books.pdf
  • De Campos , Augusto (1979) The  concrete poetry manifesto Available online in [ ]
  • Gottlieb, Sarah (2015) «A conversation with Bob Stein from the Institute of the book» in  The form of the book book Occasional papers 3th edition 2015 Albe de Coker , Atwerp Belgium
  • Jung Carl (1964), «Man and his symbols» Aldus book limitated. London England.   
  • Drucker, Johana (2014), «Graphesis Visual forms of Knowlege and production» Harvard press. Cambridge, Massachusetts and London, England.
  • -Buxon Bill (2007),  «Sketching User Experiences» Ed. Elsevier, San Francisco, USA

Ver detalles sobre el  taller :



in Native Foreigners
by  Sara Giannini
De Appel, Amsterdam
Saturday, April 22, 2017

Audio edition by
Arif Kornweitz | Jajaja Nee Nee Nee Radio

Listen to all the program



1. Transition-in

  • Son Jarocho La bruja (extract) Nuevo Son Trio.
    Mix . Ulises Carrión’s phone call 

2. Intro

  • Saludos México. Good evening Athens- Goed Nacht Netherlands
  • Reason of my invitation 
  • What  are we gonna do?
    My personal story with the story with the text?


During my research of Ofrenda voor Ulises in 2015. I asked my friend Memo Morales in Mexico city to look for information about Ulises published work in the library of the National University of Mexico. This effort brought, his thesis in and two other books: La muerte de Miss O, and De Alemania. My other dear friend Susana Santoyo who was studying her master at the faculty of philosophy scanned some stories for me. She couldn’t borrow the thesis and the books. And at the end she sent me 3 diverse stories, one was “De regreso a Amsterdam” Back in those days she advice me, you ll love the story. She was right I love the story,  furthermore, I think it is a great lecture for all travelers.

I will give a small summary of the story and read a 3 passage from the book.

Thanks to Sara for the invitation to this initiative. Thanks to Nell and De Appel for coming with this great idea about reading this here with you

Special Thanks, Susana Santoyo  for bringing this story to this table and her support  

3. Summary:

De regreso a Amsterdam is a short story telling published at De alemania in 1970. It is Ulises Carrion’s second book.

The story is a friend’s journey, Tomas and Ulises, who went on vacation to Europe where they met with Julia, Toma’s ex girlfriend, in Amsterdam.

Julia came with the new that she was pregnant and wanted to practice abortion. Subject that triggers a moral struggle between all friends and eventually put forward the mysterious disappear of one of them

4. Abstracts 

Todavía hoy, a los veinticuatros años, soy el niño consentido de mi mismo: me lo perdono todo, todo me lo celebro. Pero ahora no me avergüenza confesarlo porque también es verdad que mi cariño se ha vuelto más severo, y cuando me perdono es con una mirada dura y resignada, y me celebro sólo con una sonrisa íntima,cada vez más cerrada, a punto de desaparecer; no tengo ya estallidos de alegría de hace algunos años, años cuando admiraba mi amor por mis amigos, y quería mi inteligencia, y me veía una luz en la frente, en cada naciente arruga, en el espejo.

Today, at my 24 years old, I still find myself being the spoilt child: I forgive myself for everything Every thing is a celebration for my self. Yet now I am not ashamed to confess this because it is also the truth of my own affection that has become severest: when I forgive my self, it is with a hard and resigned vision . When I celebrate my self it is just with a discreet smile, every each time smaller, at the point of disappearing.I don’t have that blast of joy from some years ago,

When I admired my love for my friends and I loved my intelligence. And I saw a light in each wrinkle reflected in the mirror

2. Porqué, ¿cómo puede alguien desaparecer en Amsterdam, o cualquier sitió?¿Cómo es posible no dejar detrás su sombra, un zapato o un brazo, involuntariamente? Si uno encuentra la muerte en un callejón, ¿Cómo no hay una vieja insomne asomada en la ventana, un vagabundo vigilante, que nos haya visto doblar la esquina y recuerde que, en ese preciso momento, sonaban las once de la noche? Si uno decide suicidarse en un hotelucho de mala reputación y figura , ¿ puede demorar más de un año, más de tres dias, el velador que abra la puerta , nos descubra colgados del techo y diga “Me los sospechaba”? Si uno se hecha de cabeza en un canal ¿es posible que el cuerpo no salga a flote un día, que no haya niños que encuentren jugando una mano y pegado a ella un hombre entero ?¿O qué uno puede deshacerse en el aire como una palabra? ¿Cuál es la fuerza capaz de hacernos invisibles? ¿Qué cosa llena el espacio que dejamos vacío, de que esta hecho? ¿Y a donde van adar los ojos, el pelo, las orejas? ¿Es un castigo?¿O es un premio esa capacidad escasa para no dejar huella sino la pregunta que todo mundo de hace acerca de nuestro paradero y que nadie responde ?¿No es cierto que en estas suposiciones negativas hay gato encerrado? ¿Que hay siempre una vieja, un vagabundo, unos niños, un pedazo de carne?¿Que siempre termina por descubrir el cuerpo, y la fecha, el lugar exacto , las causas, los fines, los medios , de la desaparición que creyó durante muchos días inexplicable ? Si no nadie saldría a la calle. Si no viviéramos siempre frente a la cámara fotográfica que registrará el momento en que nos convertimos en nada. Si no ni para que empezar a contar historias.

Why, How does somebody disappear in Amsterdam or any other place? How is it possible to not leave behind your shadow, your shoes or an arm, involuntarily? If one finds death in an alley  How is there not an old woman with insomnia perched at the window, a vigilant vagabond who had seen us turn the corner and remember, that, at that precise time it ran 11 at night? If one decides to commit suicide in a hotel with poor reputation and standing Can it delay more than one year, more than three days, until the night watchman opens the door, discover us hanged from the roof and says : “I suspected it”. If one throw himself to the canal, it is possible that the body doesn’t float a day, that there are not children playing that finds a hand with a sticked body on it  Or can someone dissolves in the air as words? Which is the force capable to make us invisible? What thing fills the space that we left empty, what is it made of? And where does the eyes are going, the hair, the ears? Is it a punishment? Or it is a prize, that scant capacity to don’t leave a trace yet the question that everybody is asking about our location and nobodies answer? Isn’t it true that in all those negative suppositions there is something fishy? That is there always an old women, a vagabond, some kids, or a piece of meat? That does it end up by discovering the body and the date, the precise place, the causes, the aims, the ways about the disappearing that we believed all those days with any explanations?  Otherwise, nobody would be outside on the streets. If not, we would be living in front of the camera that will register the moment when we become nothing? If not, why not to start storytelling?

3. Hay una luz opaca, increíblemente plana y sin reflejos, en Amsterdam: ciudad a la que no volveré nunca.

There is opaque light, incredibly plain and without reflection, in Amsterdam: a city where I ll never return.


First, what captured my interest about De regreso Amsterdam was the last paragraph, where Ulises affirmed: “Amsterdam, a city where I ll never come back”. Later, He just spent the rest of his life in this cloudy city. It might me a coincidence or another Ulises’s prophecies. The writer who writes his own will. The writer who whites his own destiny. A writer who plays with the structures. 

Next, the story is full of the symbolic idea of disappearing: The mysterious absence of a friend – Tomas–  the original friend who one day just disappear with any clue or trace to find him.   Then, the rupture of a promise life, a baby who never gets birth, an abortion. Finally, a friend who vanished in what we perceive as reality, Juliette fades out from Ulises’s memory. They were friends just during the story because they never met again.

As a parallelism, immigration could be seen as a constant absence from the original hometown yet also from the host society where the individual lives,  what is better known as the “in-betweens”. I am not here I am not there.

Every day could be seen as a constant rupture from what it seems to be“a promise life“ . An abortion from reality. I am not where

The constant changing reality is a constant goodbye from the new and old friend. I am a cloud.

I find De regreso Amsterdam Ulises’s self-reflexion, as the adult who admits to saying goodbye to old and new friends and accept reality as a journey.   

Ulises the disappeared, He is alive every time our thoughts bring him alive.

“–¿Que pasaria si nunca muero ?

Y no tuviese la oportunidad de nacer de nuvo –
te vas te vuelves  ..”


Music ( C_Machete) Mix Amores Perros  , “Aparece “ (?)   ||  Mix “Perhaps  Cake