Cover: Jevbratt, Lisa, Mapping the web infome (intervention) [Net Art]
Catharsis can be understood as a process of purificación and emotional, mental, and spiritual freedom. Its origins are attributed to Greece, where Aristotle made use of the word to explain the sensation of the souls being cleaned after watching the Greek tragedies. The cathartic method is the one used to elevate the emotion and beyond that, the liberation of it. It is curious to think about artworks as part of the cathartic method. Who hasn't cried, shivered, been angry at an artwork? Catártica is born as a project to explore, experiment, discover at the maximum, our capacity to feel through art.
Betancourt, Michael. Glitch Video(intervención) [Video]
We are a group of students of different disciplines with the ambition of carrying art to anyone who needs it. With the desperation of making us understand and heard in this world with so much noise, Catártica allows us to have a voice behind tinted letters, having speeches that although they are monologues, open the dialogue in the student’s community and field professionals, and especially reach everyone who ignores, wants to know and feels ready to read voices with contrasting opinions. In a nutshell, Catártica is our tool to make us understand and communicate our sensible and affective relationship with our world.
In the daytime, the dogs bark and the birds begin to chirp. The neighbors go downstairs and up the stairs, the cat complains about not having water and a buzzing calls her. I don't want to open my eyes, not today. Not tomorrow. Not until it leaves. It started when the water stopped rising, they turned on a machine to move it around the house. That buzzing was not heard, it was not loud, until the house fed it, gave it a drink; They turned off the machine but one day, just for the sake of it, the buzz asked for more. It wanted to play, it found a door. It found that without much effort he could make her scream. In the mornings, after the snack, it would throw it, it would hang on it rocking, it would put all his weight and it would pull hard from one side to the other. The door could not bear. Now with small blows it opens and closes. A few days passed and the hum got bored, the pipes in the house were rusty, there were leaks. It was very upset because now it had to share his food, so it asks for more, but it couldn't. They did not want to fix them, they preferred to stop feeding the house, the water only went one direction, for and with the buzzing. At night the buzz is louder. It starts when doors squeak, stairs complain about someone running into them. The birds are locked in their nest. The neighbors are silent. Then the pipes start to rise water, the house wants to quench that sound. They are rusting, it weighs them down, it hurts. The water tastes like iron and the hum is annoying. The doors shake, the dogs bark, the cat hides. They have stepped on his tail. Be quiet. There is a leak in the house. Footsteps are heard in the bedrooms, the purple walls have lost their shine. The pictures are burned by the sun. The buzz starts out slow, loud, steady. I don't want this buzz, I don't want the walls to be that color. I can't stand the screeching of the doors and the steps of the neighbors make me want to escape, but I can't because where I'm going the buzzing follows me. It has finished the house, it has eaten away the walls, it forgot to water the plants. It's in my head, right now, here. It makes me swallow crystals, it takes away my appetite to continue. Let it go I want to sleep, just for once. .
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One of the most shocking films made in the history of contemporary Mexican cinema, in which we are introduced to a dystopia, located in Mexico City where the conflict of social classes and corruption is constantly growing. The work is close to the reality we live in.
Last 2020 came the movie New Order, directed by Michel Franco. It tells the story of a wealthy family, celebrating a wedding in their big house when a group of protesters break into the residence and attack the guests. While in Mexico City complete violence is reigning, until the army establishes a dictatorship in the country that will lead the viewer to suspense and terror. This film was presented at the Venice Film Festival, obtaining the Silver Lion of 2020, and the award-winning prize at this year's Tolouse Cinelatino Festival.
Michel Franco is a french-mexican director and screenwriter, winner of multiple awards, and known for his films where he explores social and realistic issues, in films such as bullying in Después de Lucia (2012) or family courage in Las Hijas de Abril (2017 ), being influenced by his subversive plots and photographic style of focusing on secluded and intimate places hand in hand with his filmography, through his works he evokes reflection on the themes presented. After having seen his recent film, I could not avoid the shock during the 88 minutes of duration, since the plot is so close to the reality in which there is a constant clash of classes and those who are out of privilege, are in constant struggle against social injustice, adversity, vs. the wealthiest in Mexico, creating the current social movements. A well-worked cast based on the interpretation of the characters, the different social contexts, their character, language, way of dressing, and the actions they carry out.
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The differences are observable in the clothing of the characters; While high society wears expensive, colorful and elitist clothes, the lower class wears grayish, dirty, painted and armed clothes, a question that again refers to their "rebellion and savagery" in search of rights and end the oppression.
Among the main actors are Naian González Norvid as Marianne, who is empathetic and interested in helping others; Diego Boneta as Daniel someone represented with power and concerns such as his family and the power to help; Eligio Meléndez as Rolando the family's former helper, someone humble in search of support to save his wife from her illness. Fernando Cuatle as Cristian and Mónica del Carmen as Marta, helpers of the wealthy family, who try to survive in these troubled times to protect themselves, among others.
The setting of Mexico City after the destruction by the protesters makes us impact the close reality when we get acquainted with such places in Mexico City as El Ángel de la Independencia, Centro de Coyoacán, Presidente Masaryk street, the colonia del Pedregal or the Naucalpan area in full destruction in an urban war zone, but it was thanks to special effects that Franco has used to capture these scenes. As well as the city's detention center for upper-class people, worked with a strong resemblance to the Holocaust concentration camps, since the treatment given to the people inside makes the viewer feel like a nightmare On the other hand, one of the most interesting details is the presence of the green color in the film, this is because it appears in the demonstrations when the paint is thrown, an imaginative tone when it is in the water, the color of the military clothing. or in infrastructures that has led to think about its meaning about the bourgeoisie, death and persecution, although its connotations usually have different perspectives, and also the presence of the painting Only the dead have seen the end of the war by Omar Rodríguez-Graham. Also, some inverted letters in the title of the film and end credits where it is characteristic of the director to present the character of the company.
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The film was the subject of controversy due to the prejudices and stereotypes of Mexican society, since its presentation of the trailer and when it was shown in theaters, generating mixed reviews in the country, while in Europe it was praised by important specialized critics. From my perspective, the film has left me a lot to think about how Mexican society has been evolving and to what extent a social conflict can arise due to the power struggle or the corruption that different social classes, the decadence and corruption of different systems that lose absolute control. I recommend watching this movie for those interested in suspense and themes close to reality, warned of the ability to disturb and get into suspense with some scenes.
In short, New Order is one of Michel Franco's cinematographic works that makes us see a fiction close to our reality and is one of the presentations that reflects on social classes and being one of the cinematographic works of our times that reveal the The collapse of a society and the emergence of a new one that will change everyone allows us to reflect on our position for a long time.
FUENTE DE IMÁGENES González, R. (2 de noviembre de 2020). Michel Franco: “Mi película Nuevo Orden habla de que el status quo es insostenible y urgen cambios sociales”. La Tercera. Recuperado de: https://www.latercera.com/culto/2020/11/02/michel-franco-cineasta-mexicano-mi-filme-nuevoorden-habla-de-que-el-status-quo-es-insostenible-y-urgen-cambios-sociales/ Lopez, V. (2021). 'Nuevo orden': una película excepcional que convierte la lucha de clases en una distopía aterradora. ESPINOF. Recuperado de: https://www.espinof.com/criticas/nuevo-ordenpelicula-excepcional-que-convierte-lucha-clases-distopia-aterradora Participa por Invitaciones para ver Nuevo Orden. (2020). Mundo Películas. Recuperado de: https://www.mundopeliculas.tv/2020/12/10/concurso-nuevo-orden/
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Él (1953), a Mexican movie directed by Luis Buñuel, is an adaptation of the novel written by Mercedes Pinto. In the film, Arturo de Córdoba plays Francisco Galván, a young religious bachelor of privileged social position who falls madly in love with Gloria (Delia Garcés). After passionately pursuing her, he manages to marry her; and this is how Gloria's nightmare begins, as Francisco takes everything that happens around him as irrefutable proof that his wife is cheating on him. An interesting commentary by Buñuel declares: "Perhaps this is the film in which I have put most of myself, there is something of me in the protagonist". Certainly, his philias and phobias are evident in Él, the fixation on women's legs and feet, the anticlericalism, and the rejection of the rigidity of the bourgeois family. However, the aspect that catches my attention the most is Buñuel's interest in entomology, noticeable in the scene where the couple is in the tower when Francisco compares people to worms and expresses that he would like to squash them.
This fragment could go unnoticed when studying Buñuel's filmography, but if we consider that in 23 of his 32 movies we find images of arthropods, the Spanish filmmaker's interest in insects is no longer insignificant. Interpreting the signs that artists configure through pictorial language can be a complex task for Art History, therefore it is of great utility to rely on other areas of knowledge.
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Psychoanalysis, the discipline that investigates the causes of human behavior in the subconscious, is one of the pertinent tools for the understanding and decoding of works of art. The French philosopher, Jacques Rancière, proposes the term aesthetic subconscious to name the private codification of the sensitive-affective relationship with the world. To understand how the codification occurs, we must know that the subconscious leaks into the conscious plane through involuntary symptoms and is synthesized in artistic production. To understand the formation of Buñuel's aesthetic subconscious we have to review two key events in his biography. The first clue emerges in 1917, the year he settled in Madrid to study Agricultural Engineering. It is important to note that the student residence where he stayed was a few steps away from the National Museum of Natural Sciences. The second clue comes three years later when he abandoned his studies in engineering for training in Entomology under the tutelage of Dr. Ignacio Bolivar. Although he did not complete this career, his entomological vocation remained in the imagery and symbolism of his filmography. It is very present in his surrealist and documentary stages, variable in his Mexican period and revived at the end of his career, freed from commercial demands.
Buñuel's aesthetic subconscious makes sense through comments such as the following: "I like the observation of animals, especially insects. But I am not interested in the physiological functioning, the concrete anatomy. What I like is to observe their habits..." (2011, p. 513). Buñuel's entomological passion has led theorists to hypothesize that the filmmaker takes as inspiration the behavior of insects to bring his characters to life. Therefore, to ignore Buñuel's affinity for entomology would be to miss a fundamental cornerstone for the understanding of the construction of the characters in his filmography.
REFERENCES Monserrat, V. J. (2011). Los artrópodos en la cinematografía de Luis Buñuel. Boletín de la Sociedad Entomológica Aragonesa, 501 - 524. Ranciere, J. (2006). El inconsciente estético. Buenos Aires: Del estante Editorial.
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Radene Marie-Cook "Dolor: El Alma Dividida"
It’s been four years since I started talking every day about art. It’s been a year since I started writing once a month about art. I love it, it fills me up with an indefinable passion. It's weird that I say it, because I fight every day with art. God dammit, I fight -in my head- every day with artists. But today the desire to sleep is bigger than my desire to write. I want to take a break. May I? I just want to sit here and let my fingers do their thing. I don’t want to write about art, because I don’t believe in art anymore. I don’t want to write about love, because I don’t believe in love anymore. I don’t want to write about time, because I don’t believe in time anymore. I don’t want to write about myself, because I don’t believe in myself anymore. I want to write about my friends, who have been distracting me for over a year in the lockdown by sending me terrible pictures of their faces, who have been listening to me with a stuffy nose in my eternal voice notes. I want to write about my mom and dad, who still believe in me as if I was the tooth fairy, appearing every once in a while, shining for a moment, they’re good with that. Too much faith in me. I want to write about my brother and sister, who constantly roll their eyes at each other, shouting and laughing between the rooms, reminding me what life was 13 years ago. I want to write about my grandma, whose eyes shine every time she sees me, giving me a little more life. I want to write about my teachers, whose, now, digital voices try to keep us interested in Mexican art, psychoanalysis and Spaniard art. I want to write about my boss, who celebrates every day at work as if I really did something right. I want to write about my computer, that keeps getting hot every twenty minutes and leaves me waiting for it's agonizing death. I want to write about my right leg which has stayed strong the last four months. I want to write about my left leg, which could be easily dressed up as a jelly for next Halloween.
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Heavy Heart by Henn Kim
The death of the ephemeral. The ephemeral that dies. The pandemic that doesn’t die.
I don’t want to write about anything. I want to write about everything. I don’t want to write at all.
At the end of the day, I can’t get away from art. I have no idea what I just wrote and I wouldn’t say it is art, but there it is. It never leaves.
Moon Lover by Henn Kim
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Grow up. That which one does even if one does not want to, that which is the work of time and that which brings us closer to the precipice, one step at a time. But you can't wait to be on the brink to turn to the sky. You have to imagine the precipice when you cannot see it yet. And you have to verse in a thousand ways; flying and crossing the sky, falling and in a thousand pieces, saved who knows how by who knows who. More importantly, you have to live. Life. Nobody asked for it and nobody forces us. It is the maximum right that you have (or should have): to choose between life and death, between this endless joke and the end of the game. But it's a shame to see so many playing so badly; worried about the chips, cleaning the board, worried for other winning, immobile for the last time they lost. There are sadder things. Death. I wish I was Romeo. Visceral, passionate, rudderless and delirious, leaving the last of life for a promise of love. I wish I was Martin Eden, who was a dreamer. Damned be the hour when my parents didn't chase one dream: I'm forced to chase two. Blessed be my last hour, whenever it comes, blessed be the pain, blessed be the death. Blessed is the bullet that goes through me, blessed is the heart attack, blessed is the memory of days gone by and may God curse me if my last breath is not to say: I lived.
Envejecimiento: el paso del tiempo Ilustración: M. Boix
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The fallacy of freedom, increase in the act of "creation" proposed to the so-called artistic sector, which at times is not aware of the determinism that shape their minds, their hands, their keys and also their thoughts, of the self-proclaimed artists, the product called art lacks mostly a register with a neutral, universal and timeless character, therefore this piece seeks to make visible in an obvious way, the determinism that can shape an artwork, but at the same time they could be thought of as possible impulses of "creativity" that they can result in a product, in this case a paint. The piece consists of an installation, in which a curator of journalistic notes is presented with the most repeated topics in the last 3 months, which propose an immersive environment for the producer / artist, the current situations of the society in which they are emplaced, are presented as a general degree of determinism. In addition to this, the painter in question will be recited a series of phrases, as initial impulses to start painting, the text will be open to interpretation, these words will only be known by the artist and the painter.
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Taking into account the position of A.Hauser "All art is socially conditioned, but not all art is socially definable", that is why the public will be able to observe the general location determinisms (newspaper notes) but will not be able to know which were the direct determinisms of the painting (the text said only to the painter). On the other hand, the production conditions that in turn become the field of action of the possibilities are exemplified by the materials available to make the painting, since all these were provided and chosen by the artist but not by the painter, adding his previous knowledge of a "correct" use of them, as well as not containing a previous knowledge of color use , thus getting rid of the determinism of the pictorial canons. Sociology helps to generate a paradigm of why the work exists, studying the social stratum, which will be the aspect that the public will be able to know about the piece through the installation.
The audience will ignore the thoughts of the new painter as much as the limits of the sociological tool in art, a deficiency raised by A.Hauser. “Sociology does not seem to penetrate to the real origin of mental attitudes “, These attitudes will be the ones that mold and generate new perspectives of the living experience, typical of the spirit of the time in which artistic productions develop, points of the psyche which are alien to sociology. The installation prior to the performance, with all the paintings and objects available for the painter's use according to his own taste and criteria. The moment in which the text was read from the artist to the painter, the text was recited to the ear and the music raised its volume. The painter kept the fragments of the text that had already been read to him in case he wanted to remember, although a fundamental part of the piece is the enigma of the text that almost directly triggers the painting, it can only be said that the text exposed the feeling from a collective and general location to the questioning of general notions of language
Finally, a newspaper fragment was removed which covered the lower left part of the canvases, the text is pointed out as the conclusion of the performance and the piece, although the general social framework shows the title of freedom, in the case of the artistic that of creative freedom, sociology generates an antithesis of these notions, finding the causes that led to the execution of the piece, putting freedom on trial through the determinism that permeate the practice, placing the idea in a word that if it is believed too much or not questioned, it would be a substantial misunderstanding of our own space / time location.
Marx, K. (2008). Contribución a la Crítica de la Economía Política. Madrid: Siglo Veintiuno Editores. Hauser, A. (1969). Introducción a la Historia del Arte. Madrid: Guadarrama.
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I remember the day I fell in love with you. The vision came like a glint as I understood that there are people who always bring out the worst in you. That day you had had an accident, I don't know if you were sad or just wanted sympathy, but you told me about it, I saw your injuries and I got worried. I took your face in my hands and my face moved closer than ever to yours. unaware of the moment, I lost myself feeling your wounds and touching your hair. As I came out of that eternal moment, I saw your eyes, surprised by my closeness, Noticed your soul leaving your body and in that second, I became aware of your love. As always frightened and without thinking about me, I fled emotionally from that event, so much so that I couldn't even turn to it at the very moment I realized our love was just a story.
A.G.C
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If only I had been late. If only I had called home earlier, or taken another train, if I had wasted my time at the station stalls If only I had stopped to look at the sky and taken some pictures, if I had bought her flowers. I wish I had left my wallet at work, or dropped my keys when I got home so that the noise would have let her know I was there. You would have had a few more seconds to hide. To hop from my bed to my closet. To camouflage yourself silent among my ties. You could have climbed out of the window into the garage. I wish my door struggled open, why didn't I announce myself with a loud voice, why didn't I stopped in front of the refrigerator to get a beer, or a soda, or whatever, why I couldn't lose instead, time. Maybe, if I had dropped those keys, if I would have just gone back to the office. Maybe then, you wouldn't exist for me. I couldn't think about you, I couldn't hate you. Maybe, if only I had been late, it would still be time to love.
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Sandra Smithers
To Denitzia: The three nights the full moon lasted I spent them yelling at it without hesitation, and something of which I do not know its names heard unpronounceable prayers with no verbalization. I knew it when I saw you in an ocean which my conscience ignored for a long time, I knew it when I hugged with devotion a new image of me, myself, and I. Count the grains of the sand in your dreams Weight each one of the drops in the rain and you will know exactly, my love, my seam the euphoria of my soul when I hear your name. Measure the angle of my smile, and see the effect of the tones your voice reach, Walk in the night next to a lantern, reveal the shine of your reflection in me.
To the air without strength: You think of your adventures as necessities. and you call your betrayals love Why is it so easy to taste the glare of your kisses at dawn? do not fool yourself saying that you need me, don't blame me for not being there for no one will fill what the lack in your chest by taking a space between your legs. You lull a child that no longer exists and you keep all that bad blood when your mother asks you where you went and you can't even stand from the floor. The way out… is in, baby, and I need you to understand this. Please don’t yell at the world: “save me” Don´t drag another soul into your darkness.
Alejandro Domínguez Nieto 22
CORTOS EN CORTO is a platform that projects the talent of audiovisual filmmakers celebrating the world of independent cinema. Throughout its history, this festival has had the honor of having the contribution of creators from various countries such as: Portugal, France, Italy, Spain, Argentina, United Arab Emirates, United Kingdom and Mexico; highlighting the participation of local filmmakers, including students from the Anáhuac University Veracruz Campus. In response to the current situation we are going through in the world since the COVID-19 pandemic, in its eighth edition, this university festival is reconfigured in a hybrid format presenting 12 short films from Spain, Canada, the United States, Turkey, Poland, the United Kingdom and Mexico. Likewise, we will have the presence of two renowned national and international guests, with whom we will talk to get closer to the cinema through their voices and experiences. They are Camilla Demichellis and Érika Ávila. Camila Demichellis, in addition to directing short films and commercials for brands such as Heineken, Emperor, Sam’s Club and Walt-Mart, is the director of one of the most important film rallies in the world called “48 hour film fest Mexico”; In this rally, the national audiovisual producers create a short film in 48 hours and Camilla has coordinated the different editions of it, as well as its awards at the National Cinematheque. Érika Ávila, on the other hand, is the producer of Sueño en otro idioma (I dream in another language), a film directed by Ernesto Contreras, winner of the Audience Award at the Sundance Festival in 2017 and has other national and international recognitions; In her first feature film as a producer, she won the Ariel Award for Best First Feature, the Special Jury Award at the Sundance Film Festival, the Best Ibero-American Feature Film Award at the Guadalajara Film Festival, as well as the Gold Camera nomination at the Festival de Cannes in 2007. CORTOS EN CORTO in its eighth edition will take place on April 29 and 30, 2021, the transmission will take place on the YouTube channel TV Anáhuac Veracruz, and audiences will be able to follow our activities on the social networks of CORTOS EN CORTO in Facebook and Instagram. We invite you to be part of this celebration, to continue discovering the world through the looks and stories of independent audiovisual producers, in the comfort of our home.
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So bitter, sweet and brave at the same time, with such tropical fruity nuances that remind me of the foliage on your skin, every cocoa on your face. Like a lost coffee grower, I picked up the grains one by one, even the ones you threw on the ground, trying not to adore you. But at the sunset we decided to ripen all this, you shouted so many desires... then I knew you could not love me. Even so, with your aroma, perfume of the Mictlan, I was so inebriated with your toast, as much, as when I listened to the cenzontle sing, the same song that made me an naranjo: acid to the root. Now I can only say, that chocolate is not for me.
I wish I could say or at least mention that I don't love you, that I don't miss you, that I can see you every day without needing to hug you... I wish it were so, but the truth is that I can't and I shouldn't lie to us. If only I could tell you, talk to you or caress your thought with a whisper, with a whimper, with an I miss you. If only I had the courage to approach you, to drill your eyes and shout everything I haven't said; if only I had the courage, we wouldn't be in this situation. And the fact is that looking at you, with that minimal part, I know that you are everything I need, even more, everything I want... curious, because I don't love you, I want.
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Without you, what can I care about anymore, even those damned verses I've written about you. What's more, all the things I want to say to you deserve silence, because even silence is quiet when the flowers sprout. That's the reason why I'll keep quiet disposed, I'll take refuge in the resigned exercise of the verse and I will go away as you once did, but I will say goodbye, in silence.
You can bend over and be inhibited but you know that won't stop anything, it won't stop me from saying it, it won't stop you from feeling it or you remembering everything that's been say... Is that why you won't look at me?
Javier Soria Cuautencos 25
If you are interested in publishing with us, take into account the following: 1. All texts and artworks must be sent to the Catártica official email 2. Every text received will be checked by the Catártica team. 3. If the editor considers it, changes will be made on the text, always respecting the authors original voice. 4. If you consider translating your own text into Spanish you can do so, our translators will check the process. 5. The texts and works must be sent in the following format Microsoft Word Arial 12 pts Margins superior and inferior must be 2.5 cm and 3 cm on the sides Images and illustrations should be cited in APA and sent in JPG or PNG
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Betancourt, Michael. Glitch Video(intervención) [Video]
Magazine Director María Inés Flores Nachón @notae_stethicallypleasing maines_flores@live.com Cover Desing Antonella Guagnelli Cuspinera @antonella_gc antonella.guagnelli@gmail.com Editor Fernanda Loutfe Orozco @ferorozco ferlorozco@hotmail.com Editorial design Junuen Caballero Soto @junuencaballero junuen.caballero@gmail.com Publicity Lucero Solís Tellez @lust_tsul lucero.sol.tel@icloud.com María Inés Flores Nachón @notae_stethicallypleasing maines_flores@live.com Artil Maria José Diáz @mapi_md mapidiaz42@gmail.com El Séptimo Arte Lucero Solís Tellez @lust_tsul lucero.sol.tel@icloud.com Arts 101 María Inés Flores Nachón @notae_stethicallypleasing maines_flores@live.com Crónicas de Marte Luis Fernando Salas Ramírez @fersalasrz luis.salasrz@udlap.mx Catalogarte Rossanna Huerta Romero @rosehro rossanna.huertaro@udlap.mx
Noche, Derroche, Nochera Alejandro Domínguez Nieto @hermann_cheesse alejandro.dominguezno@gmail.com Rincón de los poemas Sandra S. Smithers sandysmthrs smithersgr@gmail.com Ambulantes: Interviews Diana Carolina Gomez Ortiz @dcgo98 diana.gomezoz@udlap.mx Translators Ana Delia Castillo González @anna_2121 Claudine Gabriela Aguilar Encinas @gabe.docx Glosario Catártica Emma Patricia Zamudio Salas @emma.zamudio.92 emma.zamudioss@udlap.mx Spotify Diana Carolina Gomez Ortiz @dcgo98 diana.gomezoz@udlap.mx