“En este cuadro de boxeos interminables, / en esta tienda de seres humanos desechables”

“En este cuadro de boxeos interminables,

en esta tienda de seres humanos desechables.

En el resumen de arquetipos conjugados,

de tiempos duros estallando en todos lados.

A veces siento que sea cae esa coraza

que me mantiene seguro

de moverme en todos lados

y entonces pienso que,

he corrido con algo de suerte.

En estas páginas dibujadas

por la muerte”.

Rockdrigo González

“Permitir a las fuerzas humanas ser invadidas por las fuerzas del cosmos que el hombre tan eficientemente ha silenciado”

“I would suggest that we take our cue from Deleuze and Guattari’s reading of Woolf and Lawrence in A Thousand Plateaus in order to open a modernism of inhuman time—not a modernism of either stream of consciousness or stream of text (Deleuze and Guattari 2004, 278). This atavistic modernism might in turn allow for a re-reading of other modernists and post-modernism. Rather than posit something like tracing, marking, writing, text, differance or the word that would disperse and fragment any supposed grounding life, Bergson makes a direct claim about life as that which creates difference. Life is neither psyche, nor organism, and certainly not an inchoate chaos that is repressed by the order of psychic and organic wholes; life is an organizing power that operates in part by reducing the proliferation of intensive difference to allow for ongoing selfsame wholes, but life operates also by creating complexities and relations that cannot be contained by the human logic of organic efficiency. A modernism that followed this positively destructive atavism of intuition would not look beyond man to some higher human promise, but would allow the human to be invaded by the forces of the cosmos that he has all too efficiently silenced.”

Claire Colebrook “The Joys Of Atavism”, aquí:

¿Por qué luchan las personas por su propia represión sexual como si se tratase de un orgasmo?

En diálogo con el viejo dilema de Spinoza:

Sobre la distribución del conocimiento en el capitalismo de plataformas: acceso abierto al contenido pero no a los datos sobre sus usuarios, Bodó Balázs

“La distribución de libros digitales (book-streaming), la tarifa plana, el formato come todo lo que puedas de acceso a los libros se encuentra únicamente disponible en los audiolibros, pero raramente en los e-books. Me pregunto por qué. ¿Han notado que no hay demandas grandes por piratería de libros?

Por supuesto está la demanda contra Sci-Hub y Library Genesis en Nueva York, y hay otra en Canada en contra de aaaaarg, que es un problema mayúsculo para aquellos que han sido nombrados en estos casos. Pero esto es casi insignificante comparado a las guerras de alto perfil que la industria de la música y la industria audiovisual libro en contra de Napster, Grokster, Kazaa, megaupload y otras similares. Es como si los editores de libros se hubieran dado por vencido en intentar luchar contra la piratería en las cortes, y hubieran lanzado unas cuantas demandas únicamente para mantener la apariencia de que aún les importan los derechos de autor en el espacio digital. Me pregunto por qué.

Leer el resto de esta entrada »

Sobre cómo se está transformando la industria del libro y la naturalización del “open access”, Bodó Balázs

“Book-streaming, the flat-rate, the all-you-can-eat format of accessing books is at the moment only available to audiobooks, but rarely for e-books. I wonder why.

Did you notice that there are no major book piracy lawsuits?

Of course there is the lawsuit against Sci-Hub and Library Genesis in New York, and there is another one in Canada against aaaaarg, causing major nuisance to those who have been named in these cases. But this is almost negligible compared to the high profile wars the music and audiovisual industries waged against Napster, Grokster, Kazaa, megaupload and their likes. It is as if book publishers have completely given up on trying to fight piracy in the courts, and have launched a few lawsuits only to maintain the appearance that they still care about their digital copyrights. I wonder why.
I know the academic publishing industry slightly better than the mainstream popular fiction market, and I have the feeling that in the former copyright-based business models are slowly being replaced by something else. We see no major anti-piracy efforts from publishers, not because piracy is non-existent — on the contrary, it is global, and it is big — but because the publishers most probably realized that in the long run the copyright-based exclusivity model is unsustainable. The copyright wars of the last two decades taught them that law cannot put an end to piracy. As the Sci-Hub case demonstrates, you can win all you want in a New York court, but this has little real-world effect as long as the conditions that attract the users to the shadow libraries remain.
Exclusivity-based publishing business models are under assault from other sides as well. Mandated open access in the US and in the EU means that there is a quickly growing body of new research for the access of which publishers cannot charge money anymore. LibGen and Sci-Hub make it harder to charge for the back catalogue. Their sheer existence teaches millions on what uncurtailed open access really is, and makes it easier for university libraries to negotiate with publishers, as they don’t have to worry about their patrons being left without any access at all.
The good news is that radical open access may well be happening. It is a less and less radical idea to have things freely accessible. One has to be less and less radical to achieve the openness that has been long overdue. Maybe it is not yet obvious today and the victory is not yet universal, maybe it’ll take some extra years, maybe it won’t ever be evenly distributed, but it is obvious that this genie, these millions of books on everything from malaria treatments to critical theory, cannot be erased, and open access will not be undone, and the future will be free of access barriers.”

Sobre la nueva ecología del libro, Bodó Balázs

“I started to buy books again, usually books that I’d already read from a stolen copy on-screen. I know what I want to buy, I know what is worth preserving. I know what I want to show to my son, what I want to pass on, what I would like to take care of over time. Before, book buying for me was an investment into a stranger. Now that thrill is gone forever. I measure up the merchandise well beforehand, I build an intimate relationship, we make love again and again, before moving in together.

It is certainly a new kind of relationship with the books I bought since I got my e-reader. I still have to come to terms with the fact that the books I bought this way are rarely opened, as I already know them, and their role is not to be read, but to be together. What do I buy, and what do I get? Temporal, existential security? The chance of serendipity, if not for me, then for the people around me? The reassuring materiality of the intimacy I built with these texts through another medium?

All of these and maybe more. But in any case, I sense that this library, the physical embodiment of a physical-electronic hybrid collection with its unopened books and overflowing e-reader memory cards, is very different from the library I had, and the library I’m getting rid of at this very moment. The library that I inherited, the library that grew organically from the detritus of the everyday, the library that accumulated books similar to how the books accumulated dust, as is the natural way of things, this library was full of unknowns, it was a library of potentiality, of opportunities, of trips waiting to happen. This new, hybrid library is a collection of things that I’m familiar with.

I intimately know every piece, they hold little surprise, they offer few discoveries — at least for me. The exploration, the discovery, the serendipity, the pre-screening takes place on the e-reader, among the ephemeral, disposable PDFs and epubs.

Have everything, and own a few.


This new hybrid model is based on the cheap availability of digital books. In my case, the free availability of pirated copies available through shadow libraries. These libraries don’t have everything on offer, but they have books in an order of magnitude larger than I’ll ever have the time and chance to read, so they offer enough, enough for me to fill up hard drives with books I want to read, or at least skim, to try, to taste. As if I moved into an infinite bookstore or library, where I can be as promiscuous, explorative, nomadic as I always wanted to be. I can flirt with books, I can have a quickie, or I can leave them behind without shedding a single tear.

I don’t know how this hybrid library, and this analogue-digital hybrid practice of reading and collecting would work without the shadow libraries which make everything freely accessible. I rely on their supply to test texts, and feed and grow my print library. E-books are cheaper than their print versions, but they still cost money, carry a risk, a cost of experimentation. Book-streaming, the flat-rate, the all-you-can-eat format of accessing books is at the moment only available to audiobooks, but rarely for e-books. I wonder why.”

Descargable aquí:

Haz clic para acceder a Memory_of_the_World_ed_Guerrilla_Open_Access_2018.pdf

¿Y qué tal si la revolución social y política entre los seres humanos deja la relación entre la especie humana y la vida en el mismo lugar? ¿Qué tal que el problema ante la catástrofe climática no fuera ya el de la justicia exclusivamente entre los humanos?

“But what if the problem today were not that of a justice among humans? What if social political revolution among human beings were still to leave the relation between the human species and life in the same place? Today’s frequently cited Marxist cry—it is easier to imagine the end of the world than the end of capitalism —should be read as symptomatic. Should we not be more concerned with the world’s end than the relations among markets and individuals? The Marxist premise that we cannot save the world ecologically until capitalism is dealt with, should be questioned, and reversed: as long as we imagine life and the world to be primarily anthropogenic, or emerging from human meaning and history, we will not confront the disjunction between the human species (in all its modes) and the life that it regards as its own. A new mode of critique that would not be political would be required. Indeed, it is the political gesture, or the understanding of conflicts as ultimately intra-human, that needs to be questioned. One needs a hypo-Marxism or counter-Marxism whereby the very premise of Marxism—man as a laboring animal who furthers his own life—needs to be recognized as the limit of thinking. For what ‘we’ cannot accept is the obvious counter to this assumption: man is not an animal who furthers his own survival.”

Claire Colebrook, Death of the Posthuman, descargable aquí:

“El surrealismo nació como fuerza del humor, se fundamentó en el humor como fuerza liberadora. Siendo el último elemento poético subversivo en la sociedad actual” Luis Buñuel

“El surrealismo nació como fuerza del humor, se fundamentó en el humor como fuerza liberadora. Siendo el último elemento poético subversivo en la sociedad actual, y por lo mismo un producto de alta civilización, el humor forma parte de él, lo integra fatalmente. Pero no hay que confundir humor con ironía. La ironía es un elemento parcial, individual, aislado. Yo estoy contra la ironía. El humor es tremendo, violento y liberador. Es un escape para producir sensaciones subversivas y desagradables a través de la risa. Lo sentimental es lo contrario del humor. Lo sentimental es conformista, agrada al hábito emocional de la gente. El surrealismo, en cambio, es mezcla de ternura y crueldad, y en esa mezcla justamente reside su calidad. La ternura en contraposición o apoyando la crueldad. Es una ternura que el público agradece porque la que espera es más oficial. Yo le doy enorme alcance a la ternura.”

Luis Buñuel

“Nuestra sujeción a la ley es un efecto de la ironía. Sólo porque tenemos imágenes parciales de la ley, llegamos a imaginar una ley por encima y más allá de nuestra propia vida. Kafka se dedica a mostrar que esa ley es una ficción”

“Lo que Deleuze y Guattari buscan demostrar mediante la historia del sujeto en El anti edipo es que este sujeto desencarnado y por encima de las circunstancias ha emergido de un proceso de crueldad y terror. Es únicamente con la tortura organizada de los cuerpos que uno puede llegar a imaginar una ‘ley’ a la que esos cuerpos estarían sujetos. El sujeto es un efecto del terror, porque es únicamente a partir del terror que producimos tanto una ley a la que todos estamos sujetos como una idea de un ‘nosotros’ universal y obediente.
La literatura, de acuerdo con Deleuze y Guattari, puede revertir/invertir esta tendencia histórica e irónica al hacernos volver a vivir la crueldad y el terror desde el cual la ley es imaginada. Kafka es a menudo leído como un autor irónico o negativo porque la “ley” siempre permanece más allá de cualquier imagen o figura de la ley; todo lo que encontramos en su obra son juicios y prohibiciones, nunca a la ley en sí misma (Derrida 1989b). Deleuze, sin embargo, ve la obra de Kafka como algo que no tiene nada que ver con la negatividad y la ironía. Los padres y los jueces en El castillo (1922) o en El proceso (1925) no son signos de una ley oculta. Por el contrario, el padre débil pero que castiga es imaginado como aquel que se encuentra en frente de una ley que no podemos alcanzar. Nuestra sujeción a la ley es un efecto de la ironía. Porque lo único que tenemos son imágenes parciales, imaginamos una ley por encima y más allá de nuestra propia vida. Kafka expone la ley como una ficción, como nada más que una serie de autoridades que tienen tal falta de fuerza y poder que tienen que presentarse a sí mismas como signos de una ley más alta. But there is nothing behind the father, the judge, the court or the priest. We need to see such fictions as signifiers, pure affects or sensations with no underlying or hidden reality. The subject, or the self subjected to an unseen law, is one fiction or image among others. By creating endless images of the law Kafka shows the law to be nothing more than the performance or image of power, with power itself being the power of images (Deleuze and Guattari 1986, 55). Before the modern notion of the subject there were just political acts of force, cruelty and terror; it is only in modernity that we imagine power or force to have a ground: the man or humanity which might act as some way of judging and organising force.”

(Colebrook, Claire, Irony, London: Routledge, pág. 143)

No someterse a la ley para pervertirla, sino huir activamente de su ámbito de jurisdicción como un esquizo capaz de abrir otros procesos de jusrisprudencia

“Ya no someterse a la ley con un celo que la pervierte como en el caso de Sacher-Masoch, sino huir activamente de su ámbito de jurisdicción. Es el sentido mismo de la noción de proceso, concebido en su plena positividad. El esquizo ‘ha franqueado el límite, la esquizia que siempre mantenía la producción de deseo al margen de la producción social, tangencial y siempre aplazada. El esquizo sabe partir: ha convertido la partida en algo tan simple como nacer o morir (…). [Los] seres humanos del deseo (o bien todavía no existen o) son como Zaratustra. Conocen increíbles sufrimientos, vértigos o enfermedades. Tienen sus espectros. Deben reinventar cada gesto. Pero un ser humano así se produce como ser humano libre, irresponsable, solitario, gozozo, capaz, en una palabra, de decir y hacer algo simple en su propio nombre, sin pedir permiso, deseo que no carece de nada, flujo que franquea los obstáculos y los códigos, nombre que ya no designa ningún yo. Simplemente ha dejado de tener miedo de volverse loco. El [esquizo] se vive como la sublime enfermedad que ya no lo tocara.’”

Deleuze y Guattari, Mil mesetas


Learn easily Greek via the linguistic relationships and the roots of the English words.

Escritos de sobre mesa

SOBRE CRÍTICA. VISUALIDAD. ESCRITURA. POEMA: ENCUENTROS; Un objeto, una cosa. Nos sentamos frente a él. Lo interrogamos: él nos dice algo. El desmontaje es en tiempo ahora: Una crítica de voces. Una crítica de imágenes. Recuerdos. Flashazos.

Decir todo

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