Y SIN EMBARGO magazine lasts

I hope!

Y SIN EMBARGO magazine #29 * PUBLICADA

ARTE | CULTURA | INVESTIGACIÓN | TEMÁTICA | TRIMESTRAL | LIBRE
last/s ssue” · primaverasurotoñonorte
*recíbela en PAPEL

*descarga el PDF
*navégala ON-LINE
6170425742_1327c298e5.jpg
sep.oct.nov.2011                                                                                              ISBN: 978-1-4478-6870-5

 

Acerca de esta edición

Siete años de una publicación periódica e independiente tal vez sea un tiempo necesario y a la vez suficiente como para constatar o poner en práctica un conjunto de ideas, deseos y aventuras. YSE cierra un ciclo, pero no se cierra (ni en el sentido literal ni en el metafórico).

Nuevas situaciones, nuevas circunstancias y sobre todo nuevos anhelos e intereses consumen y demandan el pozo siempre limitado del tiempo y la energía. Hemos crecido en estos siete años sin apoyo publicitario de ningún tipo, nunca existió un soporte financiero ni módicas formas de apuntalamiento que le diesen alguna lógica de supervivencia a la publicación. Todo ha sido a pulmón, en un ejercicio respiratorio por momentos doloroso, aunque el oxígeno (intangible, claro) siempre, al final, consiguió estar ahí. Y sin embargo corren tiempos de asfixia generalizada, y a veces -aunque ejerzan su seducción la nostalgia o la obstinación- se hace necesario poner el buque en dique seco, calafatear y afrontar otros rumbos. Seguiremos, pero seremos otros.

Gracias a todos los que nos vienen leyendo y mirando. Gracias a todos los que participan y participaron.
Ya daremos noticias.

Iepa.

*

About this issue

Seven years of a periodical and independent publication is perhaps both necessary and long enough a time to verify or put into practice a set of ideas, wishes and adventures. YSE closes a cycle, but doesn’t close (neither literally nor metaforically).

New situations, new circumstances and, most of all, new wishes and interests consume and demand the always limited well of time and energy. We have grown in this seven years without any kind of sponsoring, there was never a financial support or even modest underpinnings to give any logic of survival to the publication. Everything has been done on breathhold, in a respiratory exercise, at times painful, even if oxygen (of course intangible) always managed to be there in the end. Nevertheless these are times of generalised asphyxia and sometimes – even though nostalgia or stubbornness exert their seduction- it is necessary to dry dock the boat, caulk and face different courses. We will go on, but we will be other.

Thanks to all those who have been reading and watching. Thanks to all those who take and took part.
You’ll be hearing from us.

Iepa.

+

(ñ)

Si comunicar significa poner en común, ¿es posible, hoy día, en pleno auge de la era de la comunicación, poner algo en común?
¿O sólo quedan monólogos?

*

(sh)

If communicating means to put something in common, is it possible, today, at the height of the era of communication, putting something in common? Or all we got are monologues?

*

(fr)

Si communiquer signifie partager quelque chose, est-il possible, aujourd’hui, à l’ère de la communication, de partager quoi que ce soit ? Ou bien tout ce que nous partageons n’est-il que monologues ?

 

+

edit(ing), direct(ing) + complements
fernando prats
art direct(ing) + design(ing)
estudi prats
external support(ing)
rivera valdez
biotranslat(ing) + looking glass
alicia pallas
(h)original music
nevus project / albert jordà
(h)original video
raquel barrera sutorra
front cover(ing) index: players
open(ing) in-troduction: alain vaissiere

… from
roman aixendri manuel alcaide mengual azurebumble
brancolina wilma eras oriol espinal ezook rosa delia guerrero
manuel diumenjó h.o. kozology françoise lucas nirvana sq graciela oses
alicia pallas carlos pataca leonie polah fernandoprats miguel ruibal
juan pablo sáenz jef safi alain vaissiere dou_ble_you

from…
a coruña amsterdam antwerp
barcelona bielefeld buenos aires
campredó
dundee
grenoble
irapuato
london
mar del plata méxico d.f.
nijmegen
seattle sevilla
tarragona terrassa toronto toulouse
+YSE #29 Original Music | YSElected videos+Official WEBsite | Flickr | Facebook | MySpace | Twitter | YouTube

Published! YSE#28 me/END/you

jun.jul.ago. 2011
inviernosurveranonorte | ISBN 978-1-4477-5745-0

Get your printed YSE Get it ON PAPERAlso available @ Lulu.com.

Abrir o descargar PDF Download PDF

Browse it without downloading READ it online

 

Concerned with being constantly updated, with obtaining the latest model of who knows what, with wearing the badge of the modern, informed, up-to-date consumer.

Undermined by ubiquitous messages that insist in reminding us that there’s always something better, that what we have is nor will never be enough, is bound to be old, of the last season or, which is the same but not, of centuries ago, which in consumption is equal to an era.

What if we decide not to be?

What if we decide not to run in pursuit of a future made into a gadget, a SUV or a trendy shirt?

It’s then that we realise we’re forced. That was seemed an option is nothing but a way to mask the fact that the objects themselves force us to discard them.

-They have a voice of their own and take command.

The operating system is no longer compatible with the software we need to install, the laptop does not have the required input for the new peripheral, the IKEA table didn’t resist the move, the soles of the shoes we bought last spring have come apart.

All of this thoroughly programmed to support a system that in turn supports us. To keep a job, to support the job of those who support ours, to not break a cycle of purchase-disposal-purchase beyond which we panic just to look.

And while we once again prepare to update, we fill up the trash bin with wasted resources. We dispose of the work of others: work designed to be thrown away. Objects with a programmed expiration date, which serve their only function without errors or delays: to make sure we remember to make our next purchase.

Is this the only way to keep the cycle?

How long will resources be able to support a race without (a) finishing line(s)?

Will we wait until then to imagine alternatives?

###

edit, direc & comple_
fernandoprats

art direc & desig_
estudi prats

virtual soport_
rivera valdez

biotrans_
alicia pallas

music_
albert jordànevus project

video_
raquel barrera sutorra

tapcover & back_
recycled memorieskeep in touch, images by brancolina

almostopen_
now also on the ipad, by dou_ble_you

…from

roman aixendri vivi cecilia atencio arrojas brancolina hernán dardes wilma eras oriol espinal rosa delia guerrero thomas hagström h.o. kozology françoise lucas graciela oses paula palombo alicia pallas leonie polah fernandoprats miguel ruibal jef safi susan wolff dou_ble_you

from…

a coruña amsterdam antwerp barcelona buenos aires campredó grenoble hispalis irapuato london mar del plata nijmegen struer tarragona terrassa toronto

# # #

YSE #28 Original MusicYSE #28 Original VideoYSElected videos

# # #

Official WEBsiteFlickr GroupFacebookTwitterYouTube |VimeoMySpace

Also @ around there.

 

**** contrasted gallery show

Flickr has been a source of friends, small projects and never ending inspiration for me since about five years back.

One excellent project that I have added some small input to is Y SIN EMBARGO magazine. Another is ****contrasted gallery at Flickr.

Until the 17th June YSE has a picture show at ****contrasted gallery.

You should all pay a visit! [Direct link to show] !

 

In 2008 I was generously invited by its founder Manuel Dumenjó to give a show at ****contrasted gallery! [Direct link to show]

 

My pictures that so far has been used in Y SIN EMBARGO MAGAZINE [at my murrehund account on Flickr]

Y SIN EMBARGO magazine New Issue : # 26

Y SIN EMBARGO magazine #26

“uroborus issue”
dic.2010.ene.feb.2011 | veranosurinviernonorte

*ON PAPER
*NAVIGATE it
*+ ABOUT her

(ñ)

La capacidad de adaptación humana como causa y consecuencia.
¿Cambiamos el entorno para dar soluciones y después nos adaptamos al cambio, o cambiamos sólo porque somos capaces de adaptarnos?

¿Cuándo y cómo se invirtió la relación según la cual las máquinas aspirarían a la condición humana, para en cambio tomar -cada vez más- imágenes del mundo mecánico-digital y emplearlas en nuestra propia descripción?

La tecnología como instrumento para la auto-saturación. ¿Hasta dónde somos capaces de absorber? ¿Cuánta virtualización soporta el hardware humano?

El problema de la densidad (densidad en el tiempo y el espacio), una densidad frente a la cual uno avanza convirtiéndose en un autómata funcional, filtrando el exceso de colores brillantes, el exceso de sonidos alarmantes, la saturación de productos en los comercios, de redes y de “amigos”, de “eventos” y “contenidos”, de trabajos y funciones. ¿A fuerza de mercado hemos saturado los sistemas al punto de volverlos inhabitables?

La farsa saturada,
de grasa, de estilo, de piel que se estira, de burdos maniqueísmos, de carencias sin prosodia, de tildes obcecadas, de verbos sin gracia, de ruido en do mayor, de miel o carbón.

En (o dentro de) un juego o mecanismo siniestro en el cual (o según el cual) nuestro objetivo es cumplir con todos los objetivos, vivir “a tope”, ser “eficientes y competitivos”. ¿Alguien (¿quién?) regula o dirige este proceso?

Dialemáticas emergentes: hombre/máquina, transformación/saturación. Dualidades que son en el fondo la misma, considerando al hombre como el campeón de las transformaciones y a la máquina como el instrumento de la saturación.

¿Seducción de un mundo que a causa de sus ventajas nos arrastra hacia su lógica?

La “saturación”; definida como una situación en la cual las soluciones se han transformado en problemas, lo probable se realiza cada vez menos, y lo improbable sucede más y más.

Uroborus, urobor-us.

# # #

(sh)

Human ability for adaptation as cause and consequence.
Do we change our environment to give solutions and then adapt to change, or do we change just because we’re able to adapt?

When and how was the relationship inverted, that relationship according to which machines would aspire to the human condition to reach a state in which we take more and more images from the mechanical-digital work to use them to describe ourselves?

Technology as an instrument for self-saturation. How much are we able to absorb? How much virtualization can human hardware support?

The problem of density (density in time and space), a density against which one moves forward turning into a functional automaton, filtering the excess of bright colours, the excess of alarming sounds, the saturation of products in shops, of networks and “friends”, “events” and “contents”, of works and functions. By dint of marketing, have we saturated all the systems up to the point of making them uninhabitable?

The saturated farce,
of fat, of style, of stretching skin, of blatant manichaeism, of shortage without prosody, of obstinate accents, of graceless verbs, of noise in C major, of honey or coal.

In (or inside of) a sinister game or mechanism in which (or according to which) our aim is to fulfil every aim, living “to the full”, being “efficient and competitive”. Does someone (who?) regulate or direct this process?

Emerging dialemmatics: man/machine, transformation/saturation. Dualities that are in depth the same, considering man as the champion of transformations and the machine as the instrument of saturations.

Seduction of a world that, through its advantages, drags us towards its logic?

The “saturation”, defined as a situation in which solutions have turned into problems, the probable is less and less realized, and the improbable happens more and more.

Uroborus, urobor-us.

###

edit(ing), direct(ing) & complements_
fernando prats

art direct(ing) & design(ing)_
estudi prats

colacao & ordenaciones_
rivera valdez

biotranslat(ing) & reflejos_
alicia pallas

(h)original music_
albert jordà / nevus project

(h)original video_
raquel barrera sutorra

front cover(ing) preYdation_ thomas hagström

open(ing) flashforward_ jurek durczak

back(c)over(ing) mirror jones

…from

roman aixendri
brancolina
jurek durczak
wilma eras
oriol espinal
thomas hagström
françoise lucas
graciela oses
alicia pallas
gabriela piccini
fernando prats
beatriz g. ramírez
miguel ruibal
jef safi
nirvana sq
dou_ble_you

from…

a coruña
acuitzio del canje
antwerp
barcelona
buenos aires
campredó
grenoble
helsingborg
puerto iguazú
london
lublin
mar del plata
nijmegen
polop
tarragona
terrassa

# # #

YSE #26 Original Music | Original videos | YSElected videos