#Noiser #Technofeminist #ElectronicAnarchist
Constanza Piña (Curicó, 1984) Artist, researcher and educator, focused on electronic and sound experimentation, open source technologies, DIY philosophy and techno feminist social practices. Her work explores noise as a phenomenon that encompasses sound, social, cultural, political and spiritual dimensions. Her practice blends contemporary technologies with ancient techniques through speculative narratives.
She creates analog synthesizers, textile antennas, and experimental EMF amplifiers. From a pseudoscientific perspective, Constanza develops the concept of electronic witchcraft, seeing electronics as a bridge to connect the physical world with intangible energy from multiple spectral fields.
Her work includes installations, performances, concerts, as well as collaborations, workshops, event organization and the creation of archives.
She has held exhibitions, concerts, workshops, and talks throughout Latin America, Europe, the United States, Canada, and Asia.
Since 2013, she has been researching on prehispanic ancestral computing systems, materialized in the piece “Khipu // Pre-Hispanic Electrotextile Computer,” awarded at Ars Electronica Prix 2020. This research fuses speculation and Andean science fiction to vindicate ancestral knowledge underrated by hegemonic scientific sources.
Active in the underground experimental music scene since 2010 under the pseudonym Corazón de Robota, using only DIY synthesizers that she creates and builds herself, she explores the field of audible and inaudible frequencies, psycho-physical perceptions of sound and the rhythmic dimensions of noise.
Founder of the Technofeminist meeting Cyborgrrrls (Mexico City 2017-2024), Constanza contributes to the creation of non- institutional spaces based on mutual care, collective pleasure and technological subversion. She currently works as an independent artist and teaches at her project/school Non Binary Electronic Berlin.
She has held exhibitions, concerts, workshops, and talks throughout Latin America, Europe, the United States, Canada, and Asia.
Since 2013, she has been researching on prehispanic ancestral computing systems, materialized in the piece “Khipu // Pre-Hispanic Electrotextile Computer,” awarded at Ars Electronica Prix 2020. This research fuses speculation and Andean science fiction to vindicate ancestral knowledge underrated by hegemonic scientific sources.
Active in the underground experimental music scene since 2010 under the pseudonym Corazón de Robota, using only DIY synthesizers that she creates and builds herself, she explores the field of audible and inaudible frequencies, psycho-physical perceptions of sound and the rhythmic dimensions of noise.
Founder of the Technofeminist meeting Cyborgrrrls (Mexico City 2017-2024), Constanza contributes to the creation of non- institutional spaces based on mutual care, collective pleasure and technological subversion. She currently works as an independent artist and teaches at her project/school Non Binary Electronic Berlin.
Constanza Piña (Curicó, 1984) Artist, researcher and educator, focused on electronic and sound experimentation, open source technologies, DIY philosophy and techno feminist social practices. Her work explores noise as a phenomenon that encompasses sound, social, cultural, political and spiritual dimensions. Her practice blends contemporary technologies with ancient techniques through speculative narratives.
She creates analog synthesizers, textile antennas, and experimental EMF amplifiers. From a pseudoscientific perspective, Constanza develops the concept of electronic witchcraft, seeing electronics as a bridge to connect the physical world with intangible energy from multiple spectral fields.
Her work includes installations, performances, concerts, as well as collaborations, workshops, event organization and the creation of archives.
She has held exhibitions, concerts, workshops, and talks throughout Latin America, Europe, the United States, Canada, and Asia.
Since 2013, she has been researching on prehispanic ancestral computing systems, materialized in the piece “Khipu // Pre-Hispanic Electrotextile Computer,” awarded at Ars Electronica Prix 2020. This research fuses speculation and Andean science fiction to vindicate ancestral knowledge underrated by hegemonic scientific sources.
Active in the underground experimental music scene since 2010 under the pseudonym Corazón de Robota, using only DIY synthesizers that she creates and builds herself, she explores the field of audible and inaudible frequencies, psycho-physical perceptions of sound and the rhythmic dimensions of noise.
Founder of the Technofeminist meeting Cyborgrrrls (Mexico City 2017-2024), Constanza contributes to the creation of non- institutional spaces based on mutual care, collective pleasure and technological subversion. She currently works as an independent artist and teaches at her project/school Non Binary Electronic Berlin.
KHIPU
Electrotextile Prehispanic Computer
Artistic research – Electromagnetic sound installation
Since 2017
“This project, by revitalizing these historically oppressed cultural technologies, challenges the dominant narratives imposed by colonialism. It brings to the present questions and uncertainties about our past, while opening up possibilities for more inclusive, fair, and sustainable technological imaginaries through Latin American artistic speculation.”
Artistic research delves into an ancient computing system used in pre-Columbian Andean cultures. In this system, information was knotted into strings and encoded in numerical values, following a binary and decimal system. Concealed within these threads lies a significance that transcends mere arithmetic, revealing stories of an ancient civilization. Due to its level of complexity, khipus are currently considered pre-Hispanic ecological computers, and their importance lies in their transcendental cosmic significance and the preservation of wisdom transmitted from our ancestors in South America.
The research led to the creation of a textile electromagnetic sound installation and an artist’s book.
The installation consists of an open-source textile computer inspired by the creation of an astronomical khipu. The installation itself embodies an open-source textile computer, drawing inspiration from the intricate design of an astronomical khipu. Crafted meticulously, it comprises a 6-meter diameter antenna formed by 180 ropes.
Each rope is painstakingly hand-spun, woven from a delicate blend of copper wire and alpaca wool.
These ropes are connected to an electronic circuit that amplifies and sonifies the electromagnetic fluctuations present at the installation site.
The piece is presented as an interactive sound installation, engaging with the audience or autonomously interacting with the electromagnetic data from its surroundings. Additionally, it can be a live sound performance played for the artist.
The encoded information within this khipu includes a spectral classification of the main stars of the Bootes constellation, situated in the mid-sky zenith during the production period of the piece.
Most khipus were burned by colonizers and their code remains undeciphered to this day. In this project, we aim to establish a poignant interaction with the audience through sound.
Thrus, Khipu is a sound and arts interpretation of the technology, wisdom and history of our ancestors, meant to express how the universe is governed by harmonious numerical proportions. What is heard in the installation is the amplification of the inaudible space, the echoes of specters traversing the void, a celestial symphony, the music of the spheres: the voice of silence.
WORKSHOPS
- Andean Ancestral Textile Computing and Electromagnetic Audification,Masterstudium Postdigital Lutherie / KUNSTUNIVERSITÄT LINZ, Austria / 2024
- Khipu computador prehispánico electrotextil / Festival Flama (Festival de Música Experimental y Medios Sono / Visuales Protagonizado por mujeres), Málaga, Spain / 2023
- Computación textil para escuchar lo inaudible / LABoral, centro de arte y creación industrial, Gijón, Spain / 2022
- Khipu: Sistema de Cómputo Ancestral Andino / Universidad nacional de México. UNAM, Ciudad de México, México / 2021
- Open Khipu | Khipu signs & binary code / Create your world | Ars electronica festival, Linz, Austria / 2019
- Computadores ecológicos prehispánicos & ciencia ficción andina / Design Trouble – A Symposium on the Ordinary Ethics of World-Building, University Way NE, Seattle, US / 2019
- Atelier d’information textile et de sonification spectrale / Perte de Signal, Montreal, Canada / 2018
CONFERENCES AND TEXTS
- Andean Ancestral Textile Computing and Electromagnetic Audification,Masterstudium Postdigital Lutherie / KUNSTUNIVERSITÄT LINZ, Austria / 2024
- KHIPU. Sistema de cómputo ancestral andino / LABoral Centro de Arte y Creación Industrial, Gijon, Spain / 2022
- HACKERS, MAKERS, THINKERS / Berlin University of the Arts, Berlin, Germany / 2022
- Computador textil / Universidad nacional de México. UNAM, Ciudad de México, México / 2021
- Festival Asim’tria / Perú / 2021
- XX Internacional Image Festival / Manizales, Colombia / 2021
- Prix Forum Interactive Art+ / Ars Electronica / 2020
EXHIBITIONS
- Khipu | electrotextile prehispanic computer at Collective Exhibition Renaissance 3.0. A Base Camp for New Alliances of Art and Science in the 21st Century at the ZKM | / Center for Art and Media Karlsruhe, Germany / 2023 - 2024
- Being Theoria. 4th Hangzhou Triennial of Fiber Art. / Zhejiang Art Museum / China / 2023
- HACKERS, MAKERS, THINKERS / Berlin University of the Arts, Berlin, Germany / 2022
- Extinción Remota Detectada / LABoral Centro de Arte y Creación Industrial / Gijón, Spain / 2022
- Matieres a relations - Related matters / ADA X, Montreal, Canada / 2021
- [move semantics]: rules of unfolding / The Elizabeth Foundation for the Arts, NY, US / 2021
- Festival internacional de la Imagen / Manizales, Colombia / 2021
- Speculum Artium // Window to the World / New Media Culture Festival, Trbovlje, Slovenia / 2020
- 2019 Ars Electronica Festival / Basememt, Ars Electronica Gallery Spaces, Linz, Austria / 2019
- Perte de Signal / Montreal, Canadá / 2018
- Sinapsis: artefactos latinoamericanos de artes mediales / CENTEX, Valparaíso, Chile / 2018
- Activación Khipu / Emmetrop, Bourge, France / 2018
EXHIBITIONS UP COMING
- Khipu at Arteonica* Museum of Latin American Art (MOLAA) / Long Beach, California / 2024
Artistic research delves into an ancient computing system used in pre-Columbian Andean cultures. In this system, information was knotted into strings and encoded in numerical values, following a binary and decimal system. Concealed within these threads lies a significance that transcends mere arithmetic, revealing stories of an ancient civilization. Due to its level of complexity, khipus are currently considered pre-Hispanic ecological computers, and their importance lies in their transcendental cosmic significance and the preservation of wisdom transmitted from our ancestors in South America.
The research led to the creation of a textile electromagnetic sound installation and an artist’s book.
Each rope is painstakingly hand-spun, woven from a delicate blend of copper wire and alpaca wool.
These ropes are connected to an electronic circuit that amplifies and sonifies the electromagnetic fluctuations present at the installation site.
The piece is presented as an interactive sound installation, engaging with the audience or autonomously interacting with the electromagnetic data from its surroundings. Additionally, it can be a live sound performance played for the artist.
The encoded information within this khipu includes a spectral classification of the main stars of the Bootes constellation, situated in the mid-sky zenith during the production period of the piece.
Most khipus were burned by colonizers and their code remains undeciphered to this day. In this project, we aim to establish a poignant interaction with the audience through sound.
Thrus, Khipu is a sound and arts interpretation of the technology, wisdom and history of our ancestors, meant to express how the universe is governed by harmonious numerical proportions. What is heard in the installation is the amplification of the inaudible space, the echoes of specters traversing the void, a celestial symphony, the music of the spheres: the voice of silence.
The installation consists of an open-source textile computer inspired by the creation of an astronomical khipu. The installation itself embodies an open-source textile computer, drawing inspiration from the intricate design of an astronomical khipu. Crafted meticulously, it comprises a 6-meter diameter antenna formed by 180 ropes.
- Andean Ancestral Textile Computing and Electromagnetic Audification,Masterstudium Postdigital Lutherie / KUNSTUNIVERSITÄT LINZ, Austria / 2024
- Khipu computador prehispánico electrotextil / Festival Flama (Festival de Música Experimental y Medios Sono / Visuales Protagonizado por mujeres), Málaga, Spain / 2023
- Computación textil para escuchar lo inaudible / LABoral, centro de arte y creación industrial, Gijón, Spain / 2022
- Khipu: Sistema de Cómputo Ancestral Andino / Universidad nacional de México. UNAM, Ciudad de México, México / 2021
- Open Khipu | Khipu signs & binary code / Create your world | Ars electronica festival, Linz, Austria / 2019
- Computadores ecológicos prehispánicos & ciencia ficción andina / Design Trouble – A Symposium on the Ordinary Ethics of World-Building, University Way NE, Seattle, US / 2019
- Atelier d’information textile et de sonification spectrale / Perte de Signal, Montreal, Canada / 2018
- Andean Ancestral Textile Computing and Electromagnetic Audification,Masterstudium Postdigital Lutherie / KUNSTUNIVERSITÄT LINZ, Austria / 2024
- Computador prehispánico electrotextil / Sónar de Día , Sonar+D, Barcelona / 2022
- KHIPU. Sistema de cómputo ancestral andino / LABoral Centro de Arte y Creación Industrial, Gijon, Spain / 2022
- HACKERS, MAKERS, THINKERS / Berlin University of the Arts, Berlin, Germany / 2022
- Computador textil / Universidad nacional de México. UNAM, Ciudad de México, México / 2021
- Festival Asim’tria / Perú / 2021
- XX Internacional Image Festival / Manizales, Colombia / 2021
- Prix Forum Interactive Art+ / Ars Electronica / 2020
- Khipu | electrotextile prehispanic computer at Collective Exhibition Renaissance 3.0. A Base Camp for New Alliances of Art and Science in the 21st Century at the ZKM | / Center for Art and Media Karlsruhe, Germany / 2023 – 2024
- Being Theoria. 4th Hangzhou Triennial of Fiber Art. / Zhejiang Art Museum / China / 2023
- HACKERS, MAKERS, THINKERS / Berlin University of the Arts, Berlin, Germany / 2022
- Extinción Remota Detectada / LABoral Centro de Arte y Creación Industrial / Gijón, Spain / 2022
- Matieres a relations – Related matters / ADA X, Montreal, Canada / 2021
- [move semantics]: rules of unfolding / The Elizabeth Foundation for the Arts, NY, US / 2021
- Festival internacional de la Imagen / Manizales, Colombia / 2021
- Speculum Artium // Window to the World / New Media Culture Festival, Trbovlje, Slovenia / 2020
- 2019 Ars Electronica Festival / Basememt, Ars Electronica Gallery Spaces, Linz, Austria / 2019
- Perte de Signal / Montreal, Canadá / 2018
- Sinapsis: artefactos latinoamericanos de artes mediales / CENTEX, Valparaíso, Chile / 2018
- Activación Khipu / Emmetrop, Bourge, France / 2018
- Khipu at Arteonica* Museum of Latin American Art (MOLAA) / Long Beach, California / 2024
“This project, by revitalizing these historically oppressed cultural technologies, challenges the dominant narratives imposed by colonialism. It brings to the present questions and uncertainties about our past, while opening up possibilities for more inclusive, fair, and sustainable technological imaginaries through Latin American artistic speculation.”
Artistic research delves into an ancient computing system used in pre-Columbian Andean cultures. In this system, information was knotted into strings and encoded in numerical values, following a binary and decimal system. Concealed within these threads lies a significance that transcends mere arithmetic, revealing stories of an ancient civilization. Due to its level of complexity, khipus are currently considered pre-Hispanic ecological computers, and their importance lies in their transcendental cosmic significance and the preservation of wisdom transmitted from our ancestors in South America.
The research led to the creation of a textile electromagnetic sound installation and an artist’s book.
Each rope is painstakingly hand-spun, woven from a delicate blend of copper wire and alpaca wool.
These ropes are connected to an electronic circuit that amplifies and sonifies the electromagnetic fluctuations present at the installation site.
The piece is presented as an interactive sound installation, engaging with the audience or autonomously interacting with the electromagnetic data from its surroundings. Additionally, it can be a live sound performance played for the artist.
The encoded information within this khipu includes a spectral classification of the main stars of the Bootes constellation, situated in the mid-sky zenith during the production period of the piece.
Most khipus were burned by colonizers and their code remains undeciphered to this day. In this project, we aim to establish a poignant interaction with the audience through sound.
Thrus, Khipu is a sound and arts interpretation of the technology, wisdom and history of our ancestors, meant to express how the universe is governed by harmonious numerical proportions. What is heard in the installation is the amplification of the inaudible space, the echoes of specters traversing the void, a celestial symphony, the music of the spheres: the voice of silence.
The installation consists of an open-source textile computer inspired by the creation of an astronomical khipu. The installation itself embodies an open-source textile computer, drawing inspiration from the intricate design of an astronomical khipu. Crafted meticulously, it comprises a 6-meter diameter antenna formed by 180 ropes.
- Andean Ancestral Textile Computing and Electromagnetic Audification,Masterstudium Postdigital Lutherie / KUNSTUNIVERSITÄT LINZ, Austria / 2024
- Khipu computador prehispánico electrotextil / Festival Flama (Festival de Música Experimental y Medios Sono / Visuales Protagonizado por mujeres), Málaga, Spain / 2023
- Computación textil para escuchar lo inaudible / LABoral, centro de arte y creación industrial, Gijón, Spain / 2022
- Khipu: Sistema de Cómputo Ancestral Andino / Universidad nacional de México. UNAM, Ciudad de México, México / 2021
- Open Khipu | Khipu signs & binary code / Create your world | Ars electronica festival, Linz, Austria / 2019
- Computadores ecológicos prehispánicos & ciencia ficción andina / Design Trouble – A Symposium on the Ordinary Ethics of World-Building, University Way NE, Seattle, US / 2019
- Atelier d’information textile et de sonification spectrale / Perte de Signal, Montreal, Canada / 2018
- Andean Ancestral Textile Computing and Electromagnetic Audification,Masterstudium Postdigital Lutherie / KUNSTUNIVERSITÄT LINZ, Austria / 2024
- Computador prehispánico electrotextil / Sónar de Día , Sonar+D, Barcelona / 2022
- KHIPU. Sistema de cómputo ancestral andino / LABoral Centro de Arte y Creación Industrial, Gijon, Spain / 2022
- HACKERS, MAKERS, THINKERS / Berlin University of the Arts, Berlin, Germany / 2022
- Computador textil / Universidad nacional de México. UNAM, Ciudad de México, México / 2021
- Festival Asim’tria / Perú / 2021
- XX Internacional Image Festival / Manizales, Colombia / 2021
- Prix Forum Interactive Art+ / Ars Electronica / 2020
- Khipu | electrotextile prehispanic computer at Collective Exhibition Renaissance 3.0. A Base Camp for New Alliances of Art and Science in the 21st Century at the ZKM | / Center for Art and Media Karlsruhe, Germany / 2023 – 2024
- Being Theoria. 4th Hangzhou Triennial of Fiber Art. / Zhejiang Art Museum / China / 2023
- HACKERS, MAKERS, THINKERS / Berlin University of the Arts, Berlin, Germany / 2022
- Extinción Remota Detectada / LABoral Centro de Arte y Creación Industrial / Gijón, Spain / 2022
- Matieres a relations – Related matters / ADA X, Montreal, Canada / 2021
- [move semantics]: rules of unfolding / The Elizabeth Foundation for the Arts, NY, US / 2021
- Festival internacional de la Imagen / Manizales, Colombia / 2021
- Speculum Artium // Window to the World / New Media Culture Festival, Trbovlje, Slovenia / 2020
- 2019 Ars Electronica Festival / Basememt, Ars Electronica Gallery Spaces, Linz, Austria / 2019
- Perte de Signal / Montreal, Canadá / 2018
- Sinapsis: artefactos latinoamericanos de artes mediales / CENTEX, Valparaíso, Chile / 2018
- Activación Khipu / Emmetrop, Bourge, France / 2018
- Khipu at Arteonica* Museum of Latin American Art (MOLAA) / Long Beach, California / 2024
CORAZÓN DE ROBOTA
Diy Love Synths & Electronic Anarchy
Sound performance
Since 2010
“Performs noise improvisations with sound artifacts built by herself inside chocolate boxes using low tech and electronic recycling.”
Her retro-technological and techno-manual approach presents us a laptop-free stage. Her set up includes an ensemble of handmade oscillators, sequencers, drum machines, filters and distortions that deliberately incorporate error and electronic aberration.
Her instruments are non-standard modules. The device arrangement is not fixed, enabling an ever-changing and diverse array of signal paths. This results in a dynamic and chaotic organization of textures, feedback, and random patterns that are intricately woven in real-time, to offer immersive exploration of the rhythmic dimensions of noise.
The sonorities generated go through the spectrum of audible and inaudible frequencies, leading us into a sonic trance in a sensory journey of psycho-physical perceptions, vibrations and cosmic messages reception.
Corazón de Robota DIY devices embody the philosophy of Electronic Anarchy and are exclusively crafted using open source hardware and can be found on her blog www.corazonderobota.wordpress.com
- Pandemic / France – Taiwan / 2020
- Horror Tropical / Corazón de Robota + Irma Nex Italian + Marsella / Napoli – Torino – Bologna – Roma – Marsella / 2019
- Boreal / Canada – US / 2019
- Corazón de basura / Corazón de Robota + Rainbow Trash Mexican Tour / 2019
- Ultramarino II / Spain – France – UK – Austria – Germany / 2018
Her retro-technological and techno-manual approach presents us a laptop-free stage. Her set up includes an ensemble of handmade oscillators, sequencers, drum machines, filters and distortions that deliberately incorporate error and electronic aberration.
Her instruments are non-standard modules. The device arrangement is not fixed, enabling an ever-changing and diverse array of signal paths. This results in a dynamic and chaotic organization of textures, feedback, and random patterns that are intricately woven in real-time, to offer immersive exploration of the rhythmic dimensions of noise.
The sonorities generated go through the spectrum of audible and inaudible frequencies, leading us into a sonic trance in a sensory journey of psycho-physical perceptions, vibrations and cosmic messages reception.
Corazón de Robota’s DIY devices embody the philosophy of Electronic Anarchy and are exclusively crafted using open source hardware and can be found on her blog www.corazonderobota.wordpress.com
ON TOUR
- Pandemic / France - Taiwan / 2020
- Horror Tropical / Corazón de Robota + Irma Nex Italian + Marsella / Napoli - Torino - Bologna - Roma - Marsella / 2019
- Boreal / Canada - US / 2019
- Corazón de basura / Corazón de Robota + Rainbow Trash Mexican Tour / 2019
- Ultramarino II / Spain - France - UK - Austria - Germany / 2018
“Performs noise improvisations with sound artifacts built by herself inside chocolate boxes using low tech and electronic recycling.”
Her retro-technological and techno-manual approach presents us a laptop-free stage. Her set up includes an ensemble of handmade oscillators, sequencers, drum machines, filters and distortions that deliberately incorporate error and electronic aberration.
Her instruments are non-standard modules. The device arrangement is not fixed, enabling an ever-changing and diverse array of signal paths. This results in a dynamic and chaotic organization of textures, feedback, and random patterns that are intricately woven in real-time, to offer immersive exploration of the rhythmic dimensions of noise.
The sonorities generated go through the spectrum of audible and inaudible frequencies, leading us into a sonic trance in a sensory journey of psycho-physical perceptions, vibrations and cosmic messages reception.
Corazón de Robota DIY devices embody the philosophy of Electronic Anarchy and are exclusively crafted using open source hardware and can be found on her blog www.corazonderobota.wordpress.com
- Pandemic / France – Taiwan / 2020
- Horror Tropical / Corazón de Robota + Irma Nex Italian + Marsella / Napoli – Torino – Bologna – Roma – Marsella / 2019
- Boreal / Canada – US / 2019
- Corazón de basura / Corazón de Robota + Rainbow Trash Mexican Tour / 2019
- Ultramarino II / Spain – France – UK – Austria – Germany / 2018
CYBORGRRRLS
Technofeminist meeting
Since 2017
“Cyborgrrrls is a critical, hackfeminist, technoanarchist, and cyberlibertarian party aimed at RE-creating technology and challenging aesthetic and gender stereotypes.”
It’s a space for sharing ideas and affections, for reprogramming technologies, hacking the body, and devising strategies of technical disobedience through cyber-witchcraft and electromagnetic conjurations.
The main purpose of this gathering is to come together, get to know each other, and collectively share ideas in an atmosphere of complicity, sisterhood, and love. All united in a grand ‘hackelarre’, celebrating our bodies and envisioning technologies for enjoyment, pleasure, creation, and subversion. Thus, we aim to build new spaces of coexistence, conceived from a feminist speculation.
- 2022 / Mexico City, Mexico
- 2021 / Mexico City, Mexico
- 2019 / Mexico City, Mexico
- 2018 / Mexico City, Mexico
- 2017 / Mexico City, Mexico
It’s a space for sharing ideas and affections, for reprogramming technologies, hacking the body, and devising strategies of technical disobedience through cyber-witchcraft and electromagnetic conjurations.
The main purpose of this gathering is to come together, get to know each other, and collectively share ideas in an atmosphere of complicity, sisterhood, and love. All united in a grand ‘hackelarre’, celebrating our bodies and envisioning technologies for enjoyment, pleasure, creation, and subversion. Thus, we aim to build new spaces of coexistence, conceived from a feminist speculation.
EDITIONS
- 2022 / Mexico City, Mexico
- 2021 / Mexico City, Mexico
- 2020 / Mexico City, Mexico
- 2019 / Mexico City, Mexico
- 2018 / Mexico City, Mexico
- 2017 / Mexico City, Mexico
“Cyborgrrrls is a critical, hackfeminist, technoanarchist, and cyberlibertarian party aimed at RE-creating technology and challenging aesthetic and gender stereotypes.”
It’s a space for sharing ideas and affections, for reprogramming technologies, hacking the body, and devising strategies of technical disobedience through cyber-witchcraft and electromagnetic conjurations.
The main purpose of this gathering is to come together, get to know each other, and collectively share ideas in an atmosphere of complicity, sisterhood, and love. All united in a grand ‘hackelarre’, celebrating our bodies and envisioning technologies for enjoyment, pleasure, creation, and subversion. Thus, we aim to build new spaces of coexistence, conceived from a feminist speculation.
- 2022 / Mexico City, Mexico
- 2021 / Mexico City, Mexico
- 2020 / Mexico City, Mexico
- 2019 / Mexico City, Mexico
- 2018 / Mexico City, Mexico
- 2017 / Mexico City, Mexico
NON-BINARY ELECTRONIC
DIY synths FLINTA school
Since 2023
“Non binary electronic is a collaborative, playful and hands-on pedagogical experience in which participants can learn electronics by experimenting, making mistakes, sharing, playing and undoing hegemonic discourses of technology and gender.”
We are going to make noisy circuits, little synthesizer and electronic aberrations using some of the main CMOS 40XX integrated circuits.
During the workshop we will learn the basic electronic components, reading schematics circuits, protobording and soldering to make our own handmade synths. The aim of the workshop is to explore the creative possibilities of the electronic circuits, queering the technology, making noise and short-circuit in the binary systems.
- Non Binary Electronic / Nowhereland tattoo studio collective, Berlin, Germany / 2024
- Non Binary Electronic / Agente Costura Studio, Berlin, Germany / 2023
We are going to make noisy circuits, little synthesizer and electronic aberrations using some of the main CMOS 40XX integrated circuits.
During the workshop we will learn the basic electronic components, reading schematics circuits, protobording and soldering to make our own handmade synths. The aim of the workshop is to explore the creative possibilities of the electronic circuits, queering the technology, making noise and short-circuit in the binary systems.
WORKSHOP
- Non Binary Electronic / Nowhereland tattoo studio collective, Berlin, Germany / 2024
- Non Binary Electronic / Agente Costura Studio, Berlin, Germany / 2023
“Non binary electronic is a collaborative, playful and hands-on pedagogical experience in which participants can learn electronics by experimenting, making mistakes, sharing, playing and undoing hegemonic discourses of technology and gender.”
We are going to make noisy circuits, little synthesizer and electronic aberrations using some of the main CMOS 40XX integrated circuits.
During the workshop we will learn the basic electronic components, reading schematics circuits, protobording and soldering to make our own handmade synths. The aim of the workshop is to explore the creative possibilities of the electronic circuits, queering the technology, making noise and short-circuit in the binary systems.
- Non Binary Electronic / Nowhereland tattoo studio collective, Berlin, Germany / 2024
- Non Binary Electronic / Agente Costura Studio, Berlin, Germany / 2023
SEDNA
Hearing ritual through mineral and ice
Artistic research
Since 2018
“A massive formation of rock, metal and a diversity of minerals, operating as a high reception device, has been receiving and sending signals of distress. The Andean antenna, the antenna that I am as an electromagnetic body and the synthesizer I hold in my hands, have been intercepting a lament comming from the core of the Earth. An ancient response its being sent from a faraway distance beyond Neptune’s orbit…“
Sedna: A healing ritual through ice and metal, looks far into the past by invoking the memory hidden in ice age fossils, ancient ice formations, minerals, rocks, electromagnetic forces and the deep waters of the ocean to create a multi-channel narrative of sadness, reparation and cosmic justice in a non-human time.
This project is based on artistic and scientific research based on speculation about the past and future encounter between two celestial objects: Sedna and Earth.
Sedna is a dwarf planet that lies beyond the orbit of Neptune, this remote world is in fact the farthest from the solar system. It belongs to an obscure unknown part of the galaxy: the hypothetical Oort cloud. Composed of rock, ice and gases distant and mysterious, Sedna owes its name to an ancient Inuit goddess of the deep, dark and icy arctic ocean.
According to mythology, Sedna’s severed fingers gave life to the underwater fauna after she was killed and thrown to the bottom of the sea. Since then, Sedna’s spirit has watched over the dark waters.
Atacama, extends through the natural Andean region to the west with the Pacific Ocean and to the east with the Andes Mountains. It is the driest non-polar desert on the earth’s surface. The ideal place to look at the distant stellar plane while stepping on fossils of marine animals that inhabited this area about 7 million years ago.
Atacama is also the most exploited territory for the extraction of minerals used for the production of electronics worldwide. From the understanding of our planet as a dynamic electromagnetic system that is being disturbed due to exploitation, pollution and destruction of mining extraction. This project fictionalizes a geological and cosmic imbalance caused by the melting of Andean glaciers to extract minerals and take them from the southern hemisphere to other places on Earth.
In this context of investigation and through diverse narratives that connect the voices of organic, mineral, spiritual and celestial bodies, Sedna: A Healing Ritual through Ice and Metal creates a nostalgic [science]fiction dialogue that will do justice to Sedna’s death and channel the Earth’s metallic lament.
The last time Sedna was seen this close to the Sun, Earth had just emerged from the last ice age. The next time it returns, the world may be a completely different place.
- Sesiones Paratexts, Hangar: Centro de producción y residencia artistica, Barcelona, Spain / 2023
Sedna: A hearing ritual through ice and mineral, looks far into the past by invoking the memory hidden in ice age fossils, ancient ice formations, minerals, rocks, electromagnetic forces and the deep waters of the ocean to create a multi-channel narrative of sadness, reparation and cosmic justice in a non-human time.
This project is based on artistic and scientific research based on speculation about the past and future encounter between two celestial objects: Sedna and Earth.
Sedna is a dwarf planet that lies beyond the orbit of Neptune, this remote world is in fact the farthest from the solar system. It belongs to an obscure unknown part of the galaxy: the hypothetical Oort cloud. Composed of rock, ice and gases distant and mysterious, Sedna owes its name to an ancient Inuit goddess of the deep, dark and icy arctic ocean. According to mythology, Sedna’s severed fingers gave life to the underwater fauna after she was killed and thrown to the bottom of the sea. Since then, Sedna’s spirit has watched over the dark waters.
Atacama, extends through the natural Andean region to the west with the Pacific Ocean and to the east with the Andes Mountains. It is the driest non-polar desert on the earth’s surface. The ideal place to look at the distant stellar plane while stepping on fossils of marine animals that inhabited this area about 7 million years ago.
Atacama is also the most exploited territory for the extraction of minerals used for the production of electronics worldwide. From the understanding of our planet as a dynamic electromagnetic system that is being disturbed due to exploitation, pollution and destruction of mining extraction. This project fictionalizes a geological and cosmic imbalance caused by the melting of Andean glaciers to extract minerals and take them from the southern hemisphere to other places on Earth.
In this context of investigation and through diverse narratives that connect the voices of organic, mineral, spiritual and celestial bodies, Sedna: A Healing Ritual through Ice and Metal creates a nostalgic [science]fiction dialogue that will do justice to Sedna’s death and channel the Earth’s metallic lament.
The last time Sedna was seen this close to the Sun, Earth had just emerged from the last ice age. The next time it returns, the world may be a completely different place.
WORKING PROGRESS PRESENTATION
- Sesiones Paratexts, Hangar: Centro de producción y residencia artistica, Barcelona, Spain / 2023
“A massive formation of rock, metal and a diversity of minerals, operating as a high reception device, has been receiving and sending signals of distress. The Andean antenna, the antenna that I am as an electromagnetic body and the synthesizer I hold in my hands, have been intercepting a lament comming from the core of the Earth. An ancient response its being sent from a faraway distance beyond Neptune’s orbit…”
Sedna: A healing ritual through ice and metal, looks far into the past by invoking the memory hidden in ice age fossils, ancient ice formations, minerals, rocks, electromagnetic forces and the deep waters of the ocean to create a multi-channel narrative of sadness, reparation and cosmic justice in a non-human time.
This project is based on artistic and scientific research based on speculation about the past and future encounter between two celestial objects: Sedna and Earth.
Sedna is a dwarf planet that lies beyond the orbit of Neptune, this remote world is in fact the farthest from the solar system. It belongs to an obscure unknown part of the galaxy: the hypothetical Oort cloud. Composed of rock, ice and gases distant and mysterious, Sedna owes its name to an ancient Inuit goddess of the deep, dark and icy arctic ocean.
According to mythology, Sedna’s severed fingers gave life to the underwater fauna after she was killed and thrown to the bottom of the sea. Since then, Sedna’s spirit has watched over the dark waters.
Atacama, extends through the natural Andean region to the west with the Pacific Ocean and to the east with the Andes Mountains. It is the driest non-polar desert on the earth’s surface. The ideal place to look at the distant stellar plane while stepping on fossils of marine animals that inhabited this area about 7 million years ago.
Atacama is also the most exploited territory for the extraction of minerals used for the production of electronics worldwide. From the understanding of our planet as a dynamic electromagnetic system that is being disturbed due to exploitation, pollution and destruction of mining extraction. This project fictionalizes a geological and cosmic imbalance caused by the melting of Andean glaciers to extract minerals and take them from the southern hemisphere to other places on Earth.
In this context of investigation and through diverse narratives that connect the voices of organic, mineral, spiritual and celestial bodies, Sedna: A Healing Ritual through Ice and Metal creates a nostalgic [science]fiction dialogue that will do justice to Sedna’s death and channel the Earth’s metallic lament.
The last time Sedna was seen this close to the Sun, Earth had just emerged from the last ice age. The next time it returns, the world may be a completely different place.
- Sesiones Paratexts, Hangar: Centro de producción y residencia artistica, Barcelona, Spain / 2023
Contact
Send me a message, listen to me or follow me
