{"id":222,"date":"2023-09-11T20:42:47","date_gmt":"2023-09-11T23:42:47","guid":{"rendered":"https:\/\/fabiofon.com\/verbivocovirtual\/?p=222"},"modified":"2023-09-11T20:42:47","modified_gmt":"2023-09-11T23:42:47","slug":"error","status":"publish","type":"post","link":"https:\/\/fabiofon.com\/verbivocovirtual\/error\/","title":{"rendered":"[error]"},"content":{"rendered":"\n<p>2022<\/p>\n\n\n<figure class=\"wp-block-embed wp-block-embed-youtube is-type-video is-provider-youtube epyt-figure\"><div class=\"wp-block-embed__wrapper\"><div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_64128\"  width=\"1000\" height=\"563\"  data-origwidth=\"1000\" data-origheight=\"563\" src=\"https:\/\/www.youtube.com\/embed\/S5s7u41a06I?enablejsapi=1&#038;autoplay=1&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=1&#038;playlist=S5s7u41a06I&#038;rel=-1&#038;fs=1&#038;playsinline=1&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div><\/div><\/figure>\n\n\n<p><a href=\"https:\/\/topo.art\/ilinu-ilidi\/en\/error-3\/\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/topo.art\/ilinu-ilidi\/en\/error-3\/<\/a><\/p>\n\n\n\n<p>In this series of pieces the distortion appears in different layers. In the first place appears the visual alteration exerted on the image. In second place appears the text, visual poetry doubly glitch. Distorting what has always been distortion makes explicit the relationship of interdependence that exists between the alteration of the perceptible and poetic language. I understand distortion as fundamental evidence that everything is malleable, that everything can be modified. That there is no such thing as an unquestionable natural reality, against which it is impossible to walk. Psychedelia taught us that it is enough to introduce a chemical compound into our bloodstream for our senses \u2013 through which we apprehend our most elementary notions of what is and is not real \u2013 to be revealed to us as fragile as they are. I\u2019ve been thinking a lot lately about the political implications of art, and I think that what is distorted inside the piece is also distorted in the mind of the viewer. Perhaps this alteration of language and reality (words or images that cement our interpretation of the world) allows us to come to the conclusion that another future is possible, that what we are looking at and all that surrounds us should not have to be forever as it has been until now.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\" style=\"text-transform:none\">Mart\u00edn Rangel<\/h2>\n\n\n\n<h4 class=\"wp-block-heading\">Mexico<\/h4>\n\n\n\n<p>Mart\u00edn Rangel Noguez (Pachuca, Mexico, 1994) is a poet, editor, and net artist. He has produced electronic literature pieces such as SOY UNA M\u00c1QUINA Y NO PUEDO OLVIDAR (Centro de Cultura Digital, 2017), heart of ice (HYPERPOES\u00cdA, 2021), Trabajo Textual (Museo de Arte Contempor\u00e1neo de Hidalgo, 2021), and [error] (Centro TOPO de Montreal \/ Centro de Cultura Digital \/ andamio.in \/ Ministerio de Relaciones Exteriores y la Francofon\u00eda de Quebec, 2023).<\/p>\n\n\n\n<div style=\"height:23px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>2022 https:\/\/topo.art\/ilinu-ilidi\/en\/error-3\/ In this series of pieces the distortion appears in different layers. In the first place appears the visual alteration exerted on the image. In second place appears the text, visual poetry doubly glitch. Distorting what has always been distortion makes explicit the relationship of interdependence that exists between the alteration of the perceptible [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-222","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/posts\/222","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/comments?post=222"}],"version-history":[{"count":1,"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/posts\/222\/revisions"}],"predecessor-version":[{"id":223,"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/posts\/222\/revisions\/223"}],"wp:attachment":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/media?parent=222"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/categories?post=222"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fabiofon.com\/verbivocovirtual\/wp-json\/wp\/v2\/tags?post=222"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}