"Whatever is conscious wears out.
What is unconscious remains unalterable.
But once released would not turn down in ruins? "(Freud).
Under the sign of the political concerns of contemporary culture Chilean, whose final result is often the utter paralysis of increasingly daring and frustrated applicants subject of social change-the attempt to raise the possible construction of a collective memory is one of the most notorious tics. This collective memory does not show signs unless that is like a new romantic utopia or innocence that touches the bad taste of our cultures consensus policies. At this level, poetry has the privilege of its irreducible individual nature, in which the creative experience is maintained even as a personal strength, which in a deeper dialectic may be able to account for that reality escapes dyes effective ideological that it could only hide instead of paying respect.
collection of pixels in (Santiago: Ed Gravel, 2009) of Christian Aedo (Santiago, 1976) the assessment of memory takes the only possible within our imaginary permanent erosion: it would not turn on this (as would the creators of museums) that would allow the calm analysis, systematization and study (ie, that generated History or any form of anthropology), homogeneous, empty time pointing to Walter Benjamin in his Theses on the History . Collection of pixels shows the inability to curdle in a person's detention possibility of a memory, which can only be represented in virtual given in the very act of evocation, when the mere will of remember secured its first imperfect result, unable to translate that image if it were not for the subjective imperfection of the art form.
vital Validity sensitive story Aedo sighted could only be demonstrated through his death, his ruin, his remains deposited in the memory and marked by their longevity. This is how the effective reality of the city from which you want to report can only be sustained also by way of a second paradox: by their very shape eager, irrespective of any concrete. An insignificant other experience that can not even share with this common essence:
of us will forget and be a vague memory
for surveillance cameras
the edge of the transition from a garbage dump up
in this city that builds itself
in appearance bored and exhausted of Things /
we
residues in the pleats of a half-filled page
the rest a sleight of hand /
as in porn
material for the taxidermist
The game times in the poems, for Therefore, it is painfully uncertain and marked by the experience of a patent currently . The reality of the subjects involved in the experience of citizenship is a necessary assumption, most likely, mediated by presumed to have taken place or want to take at times impossible: this is obvious consequence of a conception of knowledge is assumed from the speed at which Einstein's relativity is stronger than the evidence conscious. The sheer visual-light-display-turned surface of the virtual memory just the illusion of mimetic art as an expression of a reality which shows the city when viewed up close is your pixelation, its artificiality new, founded in a less metaphysical, measurable, repeatable, manageable.
Thus, it is not sign the letter, which provides coherence and analogy between voice and graphs, which can account for itself through the vibration of air, or solidify in the transition from print technical tools to the paper-what a privilege given to the expression of the creator, but the operator will be helpless and underprivileged to a reference point impossible, an element of pure virtual existence that makes possible the image. The basis of the image in the poems is one characteristic of the digital image: the pixel , the "smallest unit color homogeneous" part of it.
vital experience of the operator, determined by their belonging to the city, becomes a pure accident in the formation of this city turned-virtual image. Consider the sequence of photos showing an urban landscape under clear signs of marginal-urban structure property of the outskirts of Santiago, almost protective bars indicating the risk of intrusion, the neglect of the walls and the pavement, landscape seen through a magic eye, making the aesthetic of infinite distance indicator (which could be a series of illustrations in its proper sense) the extent of isolation and insecurity driven by segregation. The sequence shows the gradual blurring of this city that seems real, and the eye of the reader establishes with certainty the false illusion of consistency corresponding to an image produced technologically.
Thus, the virtualization of the city can be read as a virtualization the experience of citizens. The primal scene of pixels collector seems to be analogous to chilean poetry Rodrigo Arroyo: writing raises its origin in the protected domestic and foreign assuming chaos report has failed to show signs of humanity-the citizenship changes from actual experience a problem of aesthetic speculation useless, useless since under the solipsistic anomie absolute categories that define an aesthetic judgments as they break the rules of coexistence.
the gap in
to an object
other
rule exists
fingerprint or background noise
Where the image is pixelated quickly the city stops for a moment
( snow fall in the poem, will be a discussion, the error necessary to achieve an effect)
Writing, then, becomes a great gesture after the final overthrow of the signs of civilization. The obsession of registration requires the operator to simply give an account of the last traces of citizenship and the last remnants of collective experience. This leads naturally to the poetics of Aedo take the form of both physical movement through the city remains as a journey through his own memory, which always lead to be similar to its end virtualization. The lack of a point from which to establish a perspective (too similar to the plunder of the possibility of operator to be the subject of its own history, to assign a hierarchy to the experiences that shape it and acts that could eventually take) forces poetic creation built in drift. So, everything that appears in the poem is involved in a disorder determined by their uncontrolled impulse to the surface of the paper, in this sense, the wording of Lihn ( The paper is full of signs / ant as a bone ) has less to do with Surrealist automatism with a resigned to the impossibility of securing related experience and literature in a way that is not arbitrary. Through continuous printing match the characters in the poems, Aedo bears the mark of failure or even eliminate this whole sentences through pixelation alleged wrong, generating an arbitrariness of meaning that ends up being a burden to the reader more the opening to a fun possibility. This necessary discomfort selected your reader as active gesture capable of creating meaning, which from an aesthetic that feels the city and its development environment, can only make the reading experience itself a political gesture.
What is said is not, then, the same as what is delivered. The poetry book is a collection of poems but should be more than that: the language turns out to be a secondary means and under suspicion.
What is
do not say the names of objects
-if the tools of the butcher
are the same as now uses the taxidermist-
with the same words is election propaganda
the same with which they fell in love
had a party
a revolution in the park
-A garden of raspberry porsiempre -
from afar has the same color
an unnamed slaughter
With the same words could start a war
at the other end world
Words can not fix this world be appointed immediately becomes a dead thing, and the poet sees, well, his job hardly distinguishable from that of the taxidermists : those who insist on Install the dead as something with the appearance of life. This continuous taxidermy ever appears as a kind of permanent procedure in the creation and administration of the poetic world proposed by Aedo, and is comparable to the operation of technological trends. The living image of the city is seen as an illusion, a screen intended for those who inhabit it:
The taxidermists
in this country learned the trade well
boys run naked lit
by a garden of raspberry
Tourists fill the memories of your digital camera images how are you
With what has been said, we can say that collection of pixels is be a sample of young poetry more committed to the redevelopment of political literature in Chile, with a strong sense of poetic understanding . This far transcends the simple manipulation of literary content, to consider the necessary submission of this permanent currently an artistic work genuine: his ability to transcend the short-sightedness of a "specialist" of any kind. Collection of pixels full of passionate evocation that humanity is an integral part of any self-conscious poetic, since the presence of images of the revolution raised almost as an early history that blends the voluble present to the nostalgic look of the remains of living of the low supply goods in the flea market next to the Museum of Fine Arts, the images they wish to report an emotion that goes far beyond the student. Aedo is part of that history evanescent and does not want to hide, and even more intimate and personal dimension is the mirror of a depreciated collective memory.
collection of pixels in greet a step in the deeper search all poetry: his update. The formal commitment of the book confirms, at the same time, Gravel as one of the most interesting in the new independent publishing scene Chile in this regard, aiming at a critical pioneering role in the new political-cultural conditions of the country will be taken each day more than meet-the face of obvious impoverishment of social debate that the new scenario begins to impose.
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