Catártica: January'23

EDITORIAL EDITORIAL LETTER

LETTER

Matter is neither created nor destroyed, it only transforms. It only composes and decomposes. It is only consumed and dissipated.

This number commemorates another year of inked emotions, of catharsis on paper, taking as its central point, the energy of the four elements that make up the universe. A continuous flow of matter that does not stop.

M.I. Flores Nachón

AGC

Poetry of the elements

M.I. Flores Nachón

AGC

The Grave of Butterflies

A story about trifles

M.I. Flores Nachón

Michel C. AGC

The Problem with Humanism

Rossanna Huerta

AGC

Epiphic Structures

José Armando Cuspinera Contreras

Made from Clay

Ernesto Ocaña

p y into a spiritual one, the Divine breath.

Likewise, these elements have different meanings for each individual. For Samantha French, for example, water reminds her of her childhood, of a happy summertime with family and friends, but also of the peace and tranquility of swimming freely in the Minnesota lakes.

For the first year ' s edition of Catártica, we set out to find examples of the elements in art, but also to burn, flow, walk, and fill our lungs with new surprises for 2023.

Poetry of the Elements

M I Flores Nachón

I dare to assure that according to the understanding of existence in various cultural poles, the universe is based on constant flows, on fair balances and cardinal points. In repeated dualities, in a recurring give and take. Switch on and off, moisten and dry, heat and cool. I consider pertinent to recognize the four elements as a fundamental part of being. Water, Air, Earth and Fire in a fair coexistence that in turn composes matter.

In my brainstorming I thought of writing about Avatar the last Airbender, because I consider that it is an excellent animated series, with a lot to absorb from it. On the other hand, I thought of writing about Everything Everywhere All at Once, but it seems to me that it would require a lot of reflection to do that text.

As a first idea of the text I thought of looking for a work that could characterize

each of the elements, starting from visibility to describe in a poetic way and let it live in a magazine curatorship, however in my foolishness of perfection I did not find anything that was good enough to represent each one separately. I then wanted to find a single work that could contain the four of them living together, and I fell into my own trap. We are composed of total poetry. All is all. It seems like a joke, but in a broad History of Art I ran out of paintings. I sat down with a catalog of generic works by Dorling Kindersley in the hands and looked for pieces that could represent the four elements in one. From the beginning I had thought about Casper David Friedrich, but I ran into his contemporary J.M.W Turner, and I decided on him.

Joseph Mallord William Turner was an

English painter of the 19th century, standing out from a young age and becoming an academic from the age of 23. Widely recognized for his works in which he involves the feeling of light with nature that answers for itself. As previously discussed, the History of Art has had stages and turns, Turner belonged to the moment of awareness of finitude. The human being is only one more pawn in the chess game of the trees against the sea. We have nothing to alter here because we ourselves are part of the fun natural alteration. Turner understood it in such a way and under the stroke of his brush, he reiterated the meaning of literary, pictorial, historical romanticism. The romantic hero is an extension of the elements of the landscape. Part of the composition, but not the entity of it.

I thought, in short, that the elements make us up in a disorderly way, that there is a bit of fire, earth, water and air in me, in similar quantities and without containers. They flow within me, as they do in the universe, composing symphonies and decomposing matter. Understanding that they are the basis of my existence. They escape from each other, without any way of defining themselves. They write to each other a poetry inaudible to the eyes that do not pay attention.

Calder, A. (1969). UNTITLED, Hanging Mobile, 66 x 250.8 x 85.1 cm, Painted sheet metal.

Wires, colored figures, and threads are some of the materials with which Alexander Calder (18981976) liked to experiment to make his work. Almost half engineer and half artist, he focused on the weight, size, and positioning of his materials to generate balance, stability, and movement in his pieces.

As part of the kinetic art movement, his mobiles aim to interact with the space in which they are placed, especially with the air currents that, with their flow, give life to each part, figure, and assembly.

"Just as one can compose colors or forms, so one can compose motions."

-Alexander Calder

THEGRAVEOF BUTTERFLIES

III May

A purple hummingbird is born from silence among the ash of the volcano a couple of tears expel psilocybin of this new life, I always take you that's something different from everything, go back for a second to all those places that made you live to the days with better sun those things that never come back more than in image and memory

son of a raven Some lines separate from the horizon the lands lose borders, nothing belongs to man the trees and their shadows are witnesses of stealth, the capitalocene is past forever and ever

We were born during the end, the apocalypse, one is slow enough to explode a lifetime during the shrillest howl of an orgasm

The son of a raven stings his own shadow the poor bird is deaf I have tried to communicate my words when no one has been able to hear them, I had to say them out loud so they could survive space but not at the time the ocher will forget them among the echo of the serpents and the solar meow of cats

The raven will leave soon, it will cross the sea, it will forget the mountain

you are an enraged pack of yes, wild, you rub the weeks, you squeeze the sea to disappear the waves between your hands, you don't have a home you don't know the coordinates nor the brakes, but you know the questions You don't expect answers anymore only those that are spit from your tongue, you walk through the inertia sown with your belongings, your lips carry the wounds of your words those that even ink forgets

A scruffy dog wandering the boulevards impassed by the hollow hours, you propose pauses that are answered in blinks increasingly blurry

You cross the borders with safety of those who have kissed death either by daring or circumstance, you escape from the longed-for parsimony, once planted before any ending you can dissolve your fears in the answers

“Too late too die young”

You pray for your angels every night even when you can't stand on 2 feet, do not keep fast without oil in the blood, You don't have accounts but you do owe the worst debts, with yourself, those who do not accept loans brown mountain cat climbing to the top of the ridge chasing a dragon a myth that only feels the consequences, until you know that your body could not die even if you wish

The left-handed hummingbird flies over the targets caressed by the shadows of the arrows that pursue him, the clouds have lifted from the forest a couple of spirits let themselves be seen, like omens from the past

To taste the honey of the flowers you ' re closer to dying you don't know if you ' re going to come back (I hope you don't die at 23)

Would you be a photographer in the water war? Or would you throw a drink on the ground? for those who will not arrive tomorrow, immigrants with the name of their grandparents hovering on the back

You write a couple of letters nobody does it anymore but you, you keep dying hope

The horizon sun is the blinding light of a car in front of your winding path, you drag your life from one place to another geographical connections disadvantage misfortune, are clues for improvisation you will be nomad again on the way everything will happen, cold and fires

During the post show of life (everything you don't know is what doesn't hurt you) you smoke diamonds, wild Clovers, white gold pearls cloud falls They water the city under the volcanoes every year, The same day,

Today I was not there to corroborate once again the miracle a slight penalty

the last day of things

When is the last day of things? at times the outcome is seen, but for different circumstances there is hope of reunion

For the first times, joy, clean and unrepeatable, It's all those luminous first impressions, new landscapes, Hudson Bay, tip in Zicatela or the slopes of the volcano if i don't respawn my lungs burst take into account all my love to this profession, if you don't see me here anymore, know that I will always keep hope to see them again, lucky enough to find them on the other side if it occurred to me to walk uninhibited there will always be

The decisions that condemn me turn tutto mondo upside down

Where do we expect sunrise? enjoy the uncertainty of the fleeting unpredictable but figurable

The intensity becomes in the ejaculation of what we love is molded with each wound persists to the last follicle in the body

M.I. Flores Nachón

A story about Tri fles

I had

never taken the time to see Amelié;

for one reason or another, it made me feel a little scared. But this Wednesday I gave it a chance because I consider that this year I want to be based on new opportunities and I discovered that it is a film that warms the heart. It is a story of trifles, a fallen marble that leads to the desire to rekindle the fire that has been extinguished in someone ' s soul for a long time, which in turn passes through many other souls, lighting matches that gather in a great ending

I then thought of all the little things that I do day by day, which may lead to turning someone else's soul on or off. As quantum and sensationalist theories have been discussed, the little things that I commit like the fluttering of a butterfly that will cause a tsunami on a coast. At this very moment, as I'm typing O on my computer, someone else has blinked and missed their child's first steps. Someone has been given their first kiss, and someone has been told that their dog died. We live in a world of little things that happen at the same time in one breath.

Thinking

about the abysmal space, we are standing in makes me panic like the eternal episode of anxiety that broke out in me during the last week of the year, thinking about the time that menacingly slipped away. It scares me even to think that the head next to me has a world entirely different from mine, that paths cross due to training and chance. That some little things are provoked, some others are not.

A rendezvous with an old friend is a trifle provoked, the act of diffusion of a fish for having released a little more food into the pond, not so much. An eternal domino effect that leads to an endless tale of things that intertwine and build. They overwhelm me and obstruct my airways a little. We live in a world of grandiose little things, gasping breaths, and cheek kisses that aspire to be orgasms.

mid-18th century France, an artist is commissioned to paint a portrait and ends up falling in love with the one behind the frame. Intense emotions, secrets, love, art, and romance build a solid story that allows us to explore a lesbian relationship through a woman ' s eyes.

Starring Noémie Merlant (Marianne) and Adèle Haenel (Héloïse) the film managed to win several awards including the Cannes Film Festival Award for Best Screenplay (2019) and the César Award for Best Cinematography (2020).

trait de la jeune fille en feu. (Film). Lilies dicte Couvreur.

The problem with humanism

R O S S A N N A H U E R T A

umanism has been in crisis ever since it was conceived, it’s death was imminent since it was founded on something that could not be timeless and universal. It was not Plato’s fault or any of the ancient philosophers, neither of them could have predicted how the world events would have turned out. Yet it has happened, humanism as we know it is in crisis. But, why is that? Since the Renaissance, we have seen the development of a way of thought that centers the human being for most of the aspects of our lives. This has evolved into a separation of our surroundings and ultimately with our spirituality and eventually leading to nihilism By creating this atmosphere, the “original” humanism can not flourish as it used to do since we “killed God” (McConell,1993, p.1). Therefore, these three philosophers Ludwig Feuerbach, Friedrich Nietzsche, and Martin Heidegger started to deconstruct the discourse of traditional humanism in order to dissect and find out what is the root of all these new humanistic problems

Ludwig Feuerbach wrote the Essence of Christianity in 1841, the historical context was quite interesting at that time, the Enlightenment has just ended (1789) and Europe was a geopolitical disaster as a result of the Romanticism discourses, the European people were hungry for a social revolution with social and political liberty, and with the need to find themselves in the world. This is crucial to understand where the philosophical discourse of Feuerbach comes from. In his book, Feuerbach was trying to achieve one of the greatest attacks on the foundations of Christian belief: “to place the so-called positive philosophy in a most fatal light by showing that the original of its idolatrous image of God [Götzenbild] is man, that flesh and blood belong to personality essentially.” (Stanford University Encyclopedia, 2020). If we analyze the german word Feuerbach uses to say “God” we may also understand the meaning behind his quote: God in german would roughly translate to der Gott, yet we see that he uses the Götzenbild which translates into Idol or image of an Idol or a false God (DWDS: Der deutsche Wortschatz von 1600 bis heute, n.d.).

The use of this specific word is interesting since his discourse is all about dismantling the idea of god and putting it into anthropological discussions In the centuries before, we used to consider God as some timeless and universal entity above us with all of humanity’s best qualities: merciful, just, loving, wise, etc. Yet those same qualities are human, there is no difference between what is divine and what is human, thus, God is the ultimate manifestation of what we humans can be and strive to be so God becomes a man. This fake God we created is the one we attribute all of the responsibility and humanism, instead of having it ourselves. What Feuerbach demands of humanity is to take back our agency by putting back the responsibilities and attributes on ourselves, to base humanism itself on men and not to a false idea of men –the Götzenbild–.

We may also see the continuation of this idea in Nietzsche’s “La Gaya Ciencia” Antichrist” He saw Christianity as one of the greatest flaws of humanism:

I call Christianity the only great curse, the only great internal corruption, the only for revenge, for which no means is poisonous enough, hidden, subterranean, smal only immortal shame of humanity. And time is computed starting from the dies which this fatality began, from the first day of Christianity! And why not better day? From today? Transmutation of all values!... (2000, p.107)

Nietzsche truly believes that men are truly dehumanized when they enter th religion. But only because of this humanism we found in Christianity, just as Fe mentioned earlier, a religion based on this false humanism detaches agency from being making the men seek refuge in God in order to try to complete his own emp its own nihilist existence, since religion and humanism is the product of having m the real meaning and workings of metaphysics.Traditional metaphysics treated being not as an individual entity but as an abiding essence that could not b captured. It idealized the idea of human existence, making it pretty difficult to un “true” essence of human existence

In order to take back our agency and true metaphysics, we should be able to reg dignity, leave our contempt and disgust behind. By recovering our dignity we re existence from its doom, we as human beings have inherent value just because w think, reason, and choose Yet humanism and Christianity have taken away our freedom and have shamed us to feel lesser than the great God we create. (Nietz p.102-107)

Ultimately, Heidegger gave one of the final blows to humanism. With his Letter o (1947), we also question what is to be a human being since metaphysics are not in with our own fragility and finitude. With the overconsumption of our lives with capitalism, and, overall, our own activities we have Seinsvergessenheit We hav that we are connected to other human beings and to the earth, most of the time, day have become dehumanized, egoistic and alienated from our beings and lif overcoming our alienation with other beings we could achieve a greater sense better appreciation of life since we understand our own bief time on Earth. But wh human being? Heidegger asks himself this question

“[...]the question for man remains whether he can find his essence in that [the essence] of what is to come, which is in accord with that which has come down <to us>, and if that is the case, accordingly, as what is ek-sisting, he has to mind the truth of be[-ing]. Man tends to be[-ing].” (p.20)

We have always asked ourselves what is the essence of our self and our existence but maybe that is the problem itself Trying to pinpoint a specific and abstract concept that makes the essence of being, yet, the true essence is our own existence, to live free and live by ourselves. (The School of Life, 2014)

Indeed, these three authors have struck a powerful punch to humanism, metaphysics and religion but not in a sense of atheism but just in favor of real human beings' experiences. We see the development of the concept of “metaphysics” and “humanism” so that they align with the real experiences of what humankind has experienced. These new concepts approach human existence as a real thing, not something abstract, we have failures, dignity, and freedom as a result of our reason. We needed a humanism that was not based on incomprehensible transcendentalism in this new age, we no longer have this need to believe in someone superior to us but just believe in ourselves and our abilities do change and adapt. Thanks to Feuebach, Nietzsche and Heidegger we may now enter a new age of humanism where we put ourselves first.

Friedrich Nietzsche (2020) The Stanford Encyclopedia of Philosophy [online version] California, USA: The Stanford Encyclopedia of Philosophy

https://plato stanford edu/entries/nietzsche/#CritReliMora

Götzenbild (n d ) DWDS: Der deutsche Wortschatz von 1600 bis heute [online version] Berlin, Germany: Startseite Berlin-Brandenburgische. Akademie der Wissenschaft.

https://www.dwds.de/wb/G%C3%B6tzenbild#:~:text=Mehr-,G%C3%B6tze%2 0m ,zweigliedriger%20Personennamen%20antretenden%20Suffix%20ahd

Heidegger, M (2013) Letter on Humanism (Trad Miles Groth)

Ludwig Andreas Feuerbach (2020) The Stanford Encyclopedia of Philosophy [online version] California, USA: The Stanford Encyclopedia of Philosophy

http://wagner edu/psychology/files/2013/01/Heidegger-Letter-On-HumanismTranslation-GROTH.pdf http://wagner edu/psychology/files/2013/01/Heidegger-Letter-On-HumanismTranslation-GROTH.pdf

McConell, M. (1993) God is Dead and We Have Killed Him: Freedom of Religion in the Postmodern Age Brigham Young University Law Review, 163-188

https://chicagounbound uchicago edu/cgi/viewcontent cgi? article=12581&context=journal articles

Nietzsche, F (2000) The Antichrist Ciudad de México, México: Instituto Latinoamericano de la Comunicación Educativa The School of Life. (2014, 10 September) Philosophy: Heidegger [video]. Youtube

https://www youtube com/watch?v=Br1sGrA7XTU&t=1s

Heizer, M. (1969). Double Negative, Mormon Mesa, northwest of Overton, Nevada, MOCA collection.

As ephemeral as it is perpetual, one could say, is the work of Michael Heizer (1944). The artist displaced, in the Nevada desert, approximately 244,000 tons of stone (rhyolite and sandstone) to form two 9 meters wide, 15 meters deep, and 457-meter-long trenches that end up generating a negative space, as the name implies, which divides the area worked by humans and the natural space. Essentially the work is about what is not there, as been removed.

vironmental sculpture or land art can be visited ay of the year, and although the artist donated ce to MOCA (The Museum of Contemporary cannot be restored, as its most important istic is precisely the change offered by nature. nothing there, yet it is still a sculpture."

Heizer

EPIPHIC

STRUCTURES

José Armando Cuspinera Contreras Posgrado en Diseño Industrial

*Excerpts from research carried out for the Graduate Program in Industrial Design at the National Autonomous University of Mexico

Errors do not exist in nature, humans created them. For thousands of years it has developed andrefining techniques from which you can identify, use and transform what surrounds you for your benefit Initially, survival could be considered as the fundamental reason forwhich Human beings design, both individually and collectively, learn and innovate knowledge, techniques and processes.Nevertheless, with the passage of time basic needs such as shelter or food have become increasingly easy to acquire thanks to the ability of human beings to adapt the environment to their convenience. Little by little, human praxis –along with the designs and needs that mobilize creativity– has become more sophisticated in its knowledge, disciplines and technologies, having a continuous relationship based on the function and materiality of the objects,repurposing them from the user experience, technical innovation and affectivity with which it is possible to relate to them.

This is where innovation is developing by allowing the ideas and materials at its disposal to be explored, and with each generation it is born native to a context and tools different from the previous one, adapting from the beginning to the elements that are within its reach. This causes a gap in understanding in the development of objects and their fundamental intention, that is: why are objects born? since this makes it possible to understand the history of their development and innovation, the cause of their origin and how they are linked to the ecological context in which they operate, understanding the concept of ecology from the proposal of Félix Guattari.

The human being and the object have a link that comes from the fundamental principle of the need for survival and the ability of living beings to adapt to the ecosystem, making it possible to create with a sense of functionality, innovation and awareness.Functionality is the essence of design since we depend on it to survive, however, it is such a fundamental element that the most obvious need to which it must respond is constantly taken for granted and not the linking complexity that an object has in its lifetime with the complete ecosystem; Innovation is often considered a linear scientific development, but despite new technologies and old traditions, it often lies in the perspective that generates opportunities for change and new uses of the same techniques.Despite the fact that the primordial principle of design as a discipline was born in the search for the efficiency of the function, in the same way as with any material, object or knowledge, this has beenapprehended and adapted both to the context in which it is found and to the culture in which it is carried out, having similar disciplinary principles in the study of form and responsibility in function,but congruence to the context in which it is found.

By designing, not only objects, images or systems are produced, but we also have the opportunity to redesign possibilities of how we connect with our environment, how our senses are configured and how both our body and mind adapt, which can last longer than any design.

Allow a life closer to the naturality of nature.

Design as a discipline needs to go beyond a technological innovation, it is necessary to review and restructure more inclusive principles that respond to the multiple needs of the cultures, genres, species and ecosystems of which the human being is a part. Although the discipline of design has not yet differentiated "building with a human being" from "subduing the human being", it is necessary to start doing it now, keeping in mind both individual and state projects that respond to how entire cultures conceive and link with nature. That is the possibility of change and awareness that ontological design gives in our link with the non-human.

This design study proposal aims to modify how nature is perceived in the design process, seeking to demonstrate that technological advances can be helpful, as well as specialized technical knowledge. From the awareness of considering other species as equals in the design, a case study has been proposed in which an artifact is redesigned that takes into account an orchid as a user on the same basis as a human being, studying its characteristics as a species and its interaction with the designed prototype proposed as a redesign of a human object for a plant, and not only for a human. The design process has been carried out from the study of the plant as a species and as a user, requiring specific needs to be able to proliferate, be it an environment, an object or an environment.

Se propone cambiar la manera en la cual el individuo se relaciona con la naturaleza y otras especies y cómo nos concebimos dentro del mismo sistema.

It is proposed to change the way in which the individual relates to nature and other species and how we conceive of ourselves within the same system.

Cuspinera J A (2022) Especies no humanas en el Diseño: Diferenciación teórica entre prácticas antropocéntricas y ecocéntricas. [Tesis de Posgrado, Universidad Nacional Autónoma de México]

Cuspinera J A (2022) Artefactos creados para las orquídeas [Tesis de Posgrado, Universidad Nacional Autónoma de México]

Fotografías realizadas por: Rebeca Alejandra Romero Torres

MADE FROM

CLAY

ErnestoOcaña

Ilovegoingoutanddancing.

IthinkI'mnotinthemoodtoday,butyougoenjoyyourself.

Comeon!Standupplease(Pullsherarmtoencourageher).

Ireallydon'twantto,Lucía.

Butyoulookgorgeous,youhavetoshowitoff.

(Excited)Really?

Sure,althoughnotasgorgeousasme.

(Slightlydisappointed)Ofcoursenot,girl,youlookbeautiful

So?Let’sgodancing,twoofmyfriendswillmeetuslater.

Ididn'tknowyouhadfriends Oh,howsilly,everyonehasfriends,right?

I'veonlymetthemrecently,don'tworry,I’lltellthemwecanmeetanotherday.Areyou alright?

IthinkI'mgoingtoaskJoaquínforadivorce.

Isitforcheatingonyou,orwhat?

That'snotthereason…Ishecheatingonme?

Don'taskme,peoplealwayssuspectwhenthesethingshappen,youshouldknowalready. Youknowthateverythingimprovedbetweenmyparentswhentheydivorced,right?

Iknow,Ihandledthatdivorcemyself.

Maybeit'sforthebest,right?Whateverthereason.

Maybeit’snot,Lucía.

Maybeitis,thechildrenaregoingtobebetteroff,you'llsee.

Idon'tthinkthey'regoingtobebetteroffafterthedivorce,LaurafoundthelingerieIgaveyouforChristmas behindthesofainthelivingroom

Sorry,Ididn'tnotice,justtellherit'syours,it'sokay,I'llbemorecareful,childrendon'ttakenoticeof thosethings.

Itoldherthatalready,butthat'snotthepoint.IsJoaquíncheatingonme?

(Suddenlyannoyed)HowamItoknow?

Lucía… Veryfewtimes,somesillymistakes,butyes,ithappened.

Ireceivedyouinthishousewithopenarms,withoutjudgment.

ThenwhydoIfeeljudged?

Well,I’vetried,butmaybeyouasktoomuchofme It'srevengethen,right?Ofcourse

Youknowthat'snotwhy.

Thenwhyisit?

It'swhatfeltnatural,asifGodhadwhispereditinmyear,ithasnothingtodowithyou.

Iknow,butI'msickofpretendingthatIactuallylikeyou,thatwe'refriends.I'msickofgoingoutand dancingwithyouknowingyou'restealingmyhusbandawayfromme.

Ididn'ttakeanythingfromyou.

Ilovedthewayhelookedatme,asifIwerethelastwomanonearth,hehadtheeyesofAphrodite,almondshaped,divine.Hesmelledofwarandblood,asmenshould,heusedtolookatmewithmoredesirethanwhat fitsinthebodyofanelderlybull

Ideas,picturesinyourhead,I'mtheonlywomaninhislife,alwayshavebeen.Don'tthinkI'mnot sorry,thatIdon'tfeelguilty...

Youareleavingthechildrenwithoutafather

…Responsibleeven.

(Whispering)Youare.

Theyarenotgoingtobeleftwithoutafather,hejustdoesn'twanttobewithyou. Areyousure? I’mnotreallysure,Ican'tgetintohismind,Itry,butIcan'tanymore.HeandIhavealso driftedapartlately,therearetimeswhenIcan'tevenlistentohisthoughts.

Yousaythatwhileusinghisbody,youseducehimwithrecklessideasofwhatcouldbe,you whisperinhisearsatnight,butIcanhearyoufrommypillow.

Iencouragehim,Igivehimthecouragetofacereality,tounderstandthathedoesnotlove you,thatheisnotforyou,notforanyonebuthimself.

Yousaythat,buthehasnothingelseonhismindthanyourname Isthereanyflawlessnessina woman 'sbreastotherthanitscurvature?Isthereabiggerdivinityinthisworldthanthedistance betweenourhipsandourwaist?Ourfeetaregracefulbeforetheyareuseful,eventheugliest womanpartakesinapieceofperfection.

Evekeptherperfectioninsidehersoul,despitebeingnomorethanarib,despitebeingmade outofmaleflesh.

Wheredidyoumeetthesefriendsofyours?Whoelsehashaditswaywithyou?Youdisgustme, andIwantyoutoknowthatit'snotfortaking Joaquínawayfromme,youhavedisgustedme sinceyoufirstcametomyhome.Sinceyoufirstopenedyourcrimsonlipsinmypresence.

It'snotyoutheonesayingthesethings,it'syourresentment,I'msosorry. (Crying)Shutup (ShepullsLucía’swigoff)Shutup,Joaquín,Idon'twanttolistentoyou anymore

Lucia,mynameisLucia.

Instrucciones para autores

Si te interesa participar en la revista deberás tomar en cuenta los siguientes lineamientos :

Todos los manuscritos u obras deberán ser enviadas al correo oficial de Catártica, con su traducción correspondiente al inglés o al español.

Todos los trabajos recibidos serán sometidos a revisión por parte de los miembros de Catártica para su selección y publicación.

Si el editor lo cree pertinente podrá realizar cambios y correcciones en la redacción y el estilo de los manuscritos.

El archivo deberá seguir el siguiente formato:

Microsoft Word Tipo de letra Arial

Tamaño de letra en doce puntos

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Dirección General

María Inés Flores Nachón @notae stethicallypleasing maines flores@live.com

Subdirección y Diseño de Portada

Antonella Guagnelli Cuspinera @antonella gc antonella.guagnelli@gmail.com

Edición y Corrección de estilo Fernanda Loutfe Orozco @ferorozco ferlorozco@hotmail.com

Diseño Editorial

Junuen Caballero Soto @junuencaballero junuen.caballero@gmail.com

Sara Valeria Puch Ramos @vaaalsssp valeriapramos2106@gmail.com

Redes sociales

Antonella Guagnelli Cuspinera @antonella gc antonella.guagnelli@gmail.com

Diana Carolina Gomez Ortiz @dcgo98 diana.gomezoz@udlap.mx

Emma Patricia Zamudio Salas @emma.zamudio.92 emma.zamudioss@udlap.mx

Artistas y Escritores

Antonella Guagnelli Ernesto Ocaña

José Armando Cuspinera Contreras María Inés Flores Michel Cardenas Rossanna Huerta