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Tzolkʼin is the name bestowed by Mayanists on the 260-day Mesoamerican calendar originated by the Maya civilization of pre-Columbian Mesoamerica. The tzolkʼin, the basic cycle of the Maya calendar, is a preeminent component in the society and rituals of the ancient and the modern Maya. 

 There are four "color races" of five units each. Code numbers 1,5,9,13 and 17 are red; numbers 2,6,10,14, and 18 are white; the numbers 3,7,11,15, and 19 are blue; the numbers 4,8,12,16 and 20 are yellow. Each color is associated with an instructional verb, which demonstrates the nature of harmonic action in time. 

Red, starts; white refines; blue, transforms; and the yellow, ripe.

This perspective has accompanied me in the development of my identity in the sense of recognizing the task that each human being has in conjunction with others, that by recognizing differences and embracing them instead of rejecting them, we all rise at the same time in all areas. that we want as a people, and not hierarchies.

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source noun \ ˈsȯrs  \ 1 a: a generative force : CAUSE B (1): a point of origin or procurement : BEGINNING (2): one that initiates : AUTHOR also : PROTOTYPE, MODEL (3): one that supplies information 2 a: the point of origin of a stream of water : FOUNTAINHEAD b archaic : SPRING, FOUNT 3: a firsthand document or primary reference work 4: an electrode in a field-effect transistor that supplies the charge carriers for current flow— compare DRAIN, GATE

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Alter-globalization (also known as alternative globalization, alter-mundialization—from the French "alter-mondialisation"—or the global justice movement) is the name of a social movement whose proponents support global cooperation and interaction, but oppose what they describe as the negative effects of economic globalization, feeling that it often works to the detriment of, or does not adequately promote, human values such as environmental and climate protection, economic justice, labor protection, protection of indigenous cultures, peace and civil liberties. The alter-globalist movement represents an important reflection of the contemporary world which came about in the 1980’s as the result of a process of questioning and protest, and gave birth to the idea that Another World is Possible. Alter-globalists do not necessarily oppose the free market, but a subset of free-market practices characterized by certain business attitudes and political policies that often lead to violations of human rights By opposing the perverse effects of the neoliberal globalization, the alter-globalist movement aims at promoting human values such as environmental and climate protection, economic justice, labor protection, protection of indigenous cultures and human rights.

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It’s common for youth of different times and contexts to go through a phases of nihilism due to the discomfort of facing the future. The movie Akira dives into this in its script.

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YOUTH

Youth is vulnerable to certain situations and experiences. This sector of the population is greatly dependent on the "adult" sector decisions and is often labeled as "countercultural" or "diasporic". While some practices made by the younger population have been relatively well received, other practices attributed to them are considered deviant, unproductive, irrational, risky, etc.—

The power the youth encapsulates and is contagious of, product of uncertainty and despair is something I have a lot of respect for.

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It’s one of the first examples of humans conceiving of—what we today think of as—numbers.

The Ishango bone is an ancient artifact found in 1960 near the modern border of Uganda and the Democratic Republic of Congo. The artifact, made from a baboon fibula, has been dated to at least 11,000 years ago, though it’s likely to be older than 20,000.

The “Ishango Bone” is many-a-times correlated with being the first tracker for the menstrual cycle. It is questioned to be a ‘basic calendar that may have been used to track the lunar phase in relation to the female menstrual cycle.’

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The sculptures involve the harsh reality of survival in cities, that often is defined as a unnatural habitat to humans, however I see a exact replica of the survival methods used in the fauna as in the jungles and reefs, where coral for instance  typically form compact colonies of many identical individual polyps in reefs and the inhabitants daily routine and making of shelter implies and revolves on the presence of constant danger and predators.

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The Lefebvrian concept of the right to the city is a denunciation of the realities of exclusion and alienation in urban society, and a demand for social justice through participation in urban public space and its appropriation. Graffiti artists also face the reproduction of exclusion in everyday life and the limits of the right to the city are revealed in an aesthetic hierarchy, which in turn reproduces a social hierarchy.

Godfather of cholo style Graffitti Chaz Bojorquez

Mexico (2019)

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Consider a gold ring, for example. Over the years, the ring begins to wear down. Something is being lost. Everyday some tiny bits of matter have been worn off the ring. Hence, although atoms are invisible, their existence can be measured indirectly. 

Even today most of our advanced science is done indirectly. We know the composition of the sun, the detailed structure of DNA, and the age of the universe, all due to measurement of this kind. We know all this, even though we have never visited the stars or entered a DNA molecule or witnessed the Big Bang. This distinction between direct and indirect evidence will become essential when we discuss attempts to prove a unified field theory. 

A second approach was pioneered by the great mathematician Pythagoras.

 Pythagoras had the insight to apply a mathematical description to worldly phenomena like music. According to legend, he noticed similarities between the sound of plucking lyre string and the resonances by hammering a metal bar. He found that they created musical frequencies that vibrated with certain ratios. So something as aesthetically pleasing as music has its origin in the mathematic of resonances. This, he thought, might show that the diversity of objects we see around us must obey these same mathematical rules.

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liminoid, gradient, transition, departure,

this is part of a mixed media/drawing series first made by collages of pictures I took underwater, this is a special aspect since it reminds me of liminoid spaces of arriving and never leaving. Diving and photography are tools born from curiosity and the human urge to expand over our physical necesities. The contemplative nature of this sport inspires me a lot, because liminaty feels physically tangible. Coming from it's contemplative possibilities, I made spontaneous soft pastel drawings that involved the complexity of layers, yet also the rhythm found underwater.

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The reason why little, or practically, no artists are found among my sources is because, althought I completely agree with the importance of being involved in the contemporary and living subjects, or recognizing the historical relevance of some, for it to be something I carry as part of my stream, there’s still something missing with only seeing one outcome, whereas it's a painting, or a sculpture, etc. Every so often music, or genres that developed as a resistance, leyends and collective experiences or memory is the core do the trick best. Joint work is more important in this context for me to call it a source, because I may take part of it or relate without being a total stranger. It's substance that remains alive. .

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joints

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transcendence, survival and heritage

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Voces de la Guerrero a documentary that resulted from a film and photography workshop and follows a fraction of the daily life of kids living in the streets of a neighborhood of Mexico City. In addition to being the central characters of this film, these kids are to a good extent also the directors.

This documentary work is intrinsic of my sources because of how it meets many aspects like the enduring, youth and people, altogether. El Gordo lives on the street, and faces a harsh reality. The documentary is directed by himself, under his own rules, and guides us through with his sight and his voice. He finds a medium, or the medium found him to share it as an experience with his peers, his family, his streetmates, his nemesis, and us. He charms us through the whole time and makes evident something I wished the world could see better, the mexican society's sensitivity to creativity that cannot be detached from the culture. For this same reason I might make a subtitled version of this to spread it to other audiences.

(Personal preference to play the following subtitled extract from minute 7:35)

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For me it’s important to question art for what and for who. 

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Burakumin is a term for ethnic Japanese people with occupations considered as being associated with kegare (穢れ, "defilement") during Japan's feudal era, such as executioners, undertakers, slaughterhouse workers, butchers, or tanners. Burakumin acquired a hereditary status of Untouchability and became an unofficial caste of the Tokugawa class system during the Edo period. Burakumin were victims of severe discrimination and ostracism in Japanese society, and lived as outcasts, in their own separate villages or ghettos.  Of all the groups and organizations outside the Buraku community to offer its members safe harbor, one stands out as the most unlikely – the Yakuza.

Burakumin account for about 70% of the members of Yamaguchi-gumi, the largest yakuza crime syndicate in Japan.  Buraku often have nowhere to go when shunned by society, and the Yakuza offers a sense of identity, discipline and family that they would struggle to find elsewhere. Furthermore, the outcast status of Burakumin means that they have kindred spirits among tattooed gangsters who find themselves turned away from public baths and banks.

 Tattoos were outlawed in Japan and only criminals or outlaws had tattoos. Therefore, the Yakuza were embracing their own heritage and revolutionary rebelling against society with their tattooed bodies.

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Franz Kafka whom in The Metamorphosis showed feelings of such isolation and inferiority creating a character in the classic book named Gregor Samsa, who one day wakes up as a gigantic puke inducing parasite.