1994 / 1995 - Oigo Voces

Licenced by Me Pierdo Prod. The OLIGO Tapes Corp, BRCW fundació Zero & Psico TV.

February 11th 1995, Saturday 21.30h / June 21st 1996, Friday 22:00h.

“Desperation is the raw material of drastic change. Only those who can leave behind everything they have ever believed in can hope to escape. ”

United States of America.

serial monument 2 (tv vs XXth)

serial monuments (shooter's accessories)

United States of America.

Media Shadows from the early WWW

Documents from the Dark Side of the Empire

1999-2001 / 2005 - Babylon Archives

Media Shadows from the early WWW

A research project by the Observatory of Non Identified Video .

Reading agents Abu-Ali and Kubasik Basik.

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Archivo de Proyectos 1994-2026

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                                Lecturas de archivo 3
                                     
                                    / LA BUSQUEDA DE LA LUZ /
                                    / LA BUSQUEDA DEL FUEGO /
        Lecturas de archivo 3
        / INTERPRETACIONES

Observatorio de Video No Identificado creó su archivo durante tres décadas, entre los años 1994 y 2020. Este incluye materiales diversos: textos, artefactos mediáticos y resultados de investigaciones diversas, así como ensoñaciones y asociaciones inesperadas. A partir de 2020, el Observatorio ha ampliado los límites previstos del archivo más allá de la preservación y de su propia historia y contenidos; ha iniciado una serie de módulos a largo plazo bajo el título genérico Interpretaciones de Archivo: una serie de exploraciones en el espacio web que replantean contenidos específicos mediante reconsideraciones conceptuales, temporales y contextuales. Estas interpretaciones tienden puentes entre contextos del pasado y del presente, dando lugar a proyecciones hacia posibles movimientos futuros.

Interpretaciones de Archivo son ejercicios no lineales y experimentales que dialogan con áreas y conceptos relacionados con el archivo, sus derivaciones y potenciales contenidos específicos. Rechazando el catálogo estático, estas publicaciones aprovechan las posibilidades del espacio web para recontextualizar, en primer lugar, la misma noción de archivo. Desde una mirada contemporánea y ensoñadora, se invierten supuestos, se trazan paralelismos con ciertos cambios sociotecnológicos actuales y se exploran tensiones persistentes en la teoría y la práctica de lo que, hasta muy recientemente, hemos considerado mediático.

Este enfoque intenta activar la noción de archivo como un espacio de contraste. Cada interpretación pretende subrayar cómo la memoria alimenta también la oscilación entre la posibilidad y la crítica contemporánea, desafiando la simplificación y las reducciones lineales de progreso y obsolescencia. La serie se despliega de forma irregular, reflejando la naturaleza no sistemática de la memoria y priorizando la profundidad sobre la frecuencia.

/ JOURNEY TO OTHER PERSPECTIVES - A GLOSSARY OF FIVE TERMS /

/ BLACK MAGIC IN THE AIR /

/ LANDSLIDE LANDSCAPES /

/ THE SCREEN OF TIME /

/ THE SOUND OF TIME /

/ GIVE UP THIS EFFORT /

/ THE TEN THOUSAND BEINGS /

Opening time windows through interpreting the archive

The notion of an accessible but isolated archive in time is of limited value. What really adds value to the archive is the potential to be read, to create meaning, to suggest cross-readings and cross-pollinations. Since the moment the first works from the archive were posted on this website with the permission of their creators, the need to engage in an online “reading”, interpretation, or reconsideration of the concepts and programs has always been present.

The  Unidentified Frame Observatory aims to expand and open up the meanings contained in the project works and concepts through a series of “readings”: theme-based itineraries or interpretations of the OVNI Archives  that open windows into other possibilities, through the materials compiled in the research process over the years. "Archive Readings" opens   new meanings, intersections, and crossovers in the archive and in desorg.org, beyond the format and original context in which the materials were included.

Lying on deep surfaces.

Lying on deep surfaces.

Context Protocol began in 2022 as a investigation in the early stages of generative image-making . The project finished in 2025 , takes the form of a triptych trilogy : three moving-image-and-sound prototypes, each composed of three internal parts. Each part addresses contemporary questions through a veiled, eerie, and unearthly register, producing a hermetic atmosphere driven by a slow, hypnotic tempo.

On one hand, the trilogy functions as an archaeological record , a deliberate documentation of the early days of generative image practice, grounded in the material traces of models and workflows that shaped that moment (Stable Diffusion 1.5, Stable Diffusion XL, and AnimateDiff). On the other hand, it interleaves this record with layered subjective constructions —text, moving-image and audio assemblages that treat the machine as both a tool and a interlocutor.

The project is guided by a practical, non-commercial stance, generation takes place offline and locally rather than via hosted platforms. Early experiments and model choices are part of the work’s record,  community-trained variants and weights have been explored and examined for their particular behaviors and limits (for example: WrongTurnXL_ WTSDXL7.7.safetensors , LightRaysEndcontrast.3.7.safetensors , RealisticReal V5.1VAE.safetensors ). Textual revision and collaborative editing were carried out with distilled uncensored models ( DeepSeek  R1 Distill Qwen 32B  abliterated ) used as a critical aid rather than an endpoint.

Lying on deep surfaces is not lying

The ambition and risk of Context Protocol lie in the convergence of two forces: intuitive, affective expression; and careful, critical analysis . The project treats deep learning models not merely as generative engines but as cultural objects whose architectures and datasets encode histories, absences, and biases. This dual perspective makes the work as much a poetics of materiality as an ethical inquiry.

Methodologically, Context Protocol adopts what might be called an intuitive reverse engineering : a regressive-forward trajectory that refuses the myth of linear technological progress . Beyond the celebration of novelty, the project probes the inertias—formal, cultural, and archival—that neural networks reproduce, and seeks to disturb them through deliberate error, layered reinterpretation, and constrained practice.

A central conceptual strand is the idea of a human deep learning : a metaphorical appropriation of the structural affordances of neural networks (multi-layered attention to pattern and correlation) redirected toward human practices of memory, semantic ambiguity, and subjective meaning-making. Machine learning excels at correlational prediction, a human deep learning privileges what datasets omit, cultural weight, memory fractures, and the contingency of experience , while borrowing the disciplined layering that makes machines effective.

The work is structured in three distinct moving-image modules: First Triptych , Fifth Triptych , and Seventh Triptych. The trilogy functions as a prototype of this hybrid poetics, each module visualizes formal and symbolic outcomes while excavating the hidden logics of its source models—the tension between randomness and control, the syntax of dataset memory, and the slippery boundary of authorship in a mediated process.

In April 2024 we met in the city of Bilbao to carry out a reading and writing workshop on migrant narratives. We read, debated and wrote about our condition as migrants and the importance of Hospitality put into concrete action in our territories, always understanding that we have not arrived here alone but thanks to the path that others have walked before us, leaving their mark as a resource, as a tool to think and form ourselves as makers of hospitality in all its forms.

From the April workshop in Bilbao came the proposal to conduct a multimedia research to rescue women who have been activists, fighters, creators in their lifetime, but who have not achieved notoriety and / or media visibility as others.

Highlighting the extraordinary in apparently ordinary people, as a stimulus and seed of the amazing that beats in ourselves.

A passage into the lives of prodigious women from different geographical spaces (Catalan, Italian, Basque, Kurdish, Latin) through testimonies, direct interviews, artistic works and biographical documents, which allow us to conceive a reality where the common entails the spectacular.

Un apartamento en Urano

La poesia no es un lujo

Cuaderno del imposible retorno a Pangea

canciones del fin del mundo

The art of the 20th century was Futurist audacity,

What remains of Futurism: the insane heroism of the white race in unstoppable decline

What is art after the 20th century?

An exhausted symptom of becoming nothingness?

After the Nazi-liberal extermination that began with Pinochet and Thatcher:

Acceleration, convulsion, collapse.

Perhaps an epidemic of depression?

But luckily there is war, amphetamine for depression.

Heroism and dementia of the white race.

Holocaust on the frontier and on the seas.

Nazism is Europe's truth, Anders, Breivik its peer.

The post covid generation: last by necessity, last by choice?

Extinction as a paradoxical strategy:

Mass dropout from work, non-participation, non-birth,

Franco Bifo Berardi: "Desertion!

"dinamita, historia de violencia de clase" de Lluis Agami, ed. traficantes de sueños cap. sabotaje 1908

https://www.lalinternasorda.com/dinami.html

"trabajos de mierda" de David Graeber

https://davidgraeber.org/books/bullshit-jobs/

"La insurrección que viene" de Comité Invisible

https://tiqqunim.blogspot.com/2013/03/civil.html

https://timeo.store/products/etica-della-diserzione

https://galletarecords.bandcamp.com/track/abajo-el-trabajo

"lavorare con lentezza"

https://aws.lsd.cat/audio/HepixhDs_Yw.mp3

https://www.ildeposito.org/canti/lavorare-con-lentezza

Los prisionero: "el baile de los que sobran"

https://www.youtube.com/watch?v=X-YAnmsbnKM

/ THE VOYAGE OF ARKA KINARI /

/ NAME FADING TOMORROW /

/ NAME FINAL TRANSIT /

/ A DIFFERENT KIND OF ORDER /

/ SILENCE IN THE AWAKENING OF THE WORLDS OS_THE TRIP /

/ SILENCIO EN EL DESPERTAR DE LOS MUNDOS_THE VISION /

SILENCE IN THE AWAKENING OF THE WORLDS_THE THRESHOLD /

/ THE CLOUD IS IN THE ATMOSPHERE /

• It is certainly an unquestionable improvement for everyone -

• Memories of tomorrow -

  / OF DOGS, ASHES AND WEEDS /

  From January untill December 2022.

  CENTRE D'ARTS SANTA MÒNICA, BARCELONA

  Free entrance, limited capacity.

We present some explorations or investigations that try to respond to the demands of the epoch. A demand of a light at the end of the night. No one today can present a diaphanous and perfect affirmation, in the midst of a context of noise, confusion and fear. We propose environments and contexts of moving image that aim to open a crack for understanding.

Fundamental questions are raised: How to understand the use of still and moving image in post-instagram times?, to what degree the screen is really part of our lifes?. Where is located a landscape rendered in the screen?, what is the strength of stories told with images?, what bifurcations in reality are being followed in the cybernetic metropolis?

Explorations at dawn brings us some testimonies, research projects that adopt different strategies and forms to acquire knowledge about contemporary issues around the image, the faculty of imagining, magical forces, and questions of technology and tradition. Franz Rossenzweig said, «A good witness must be the one for whose credibility others literally go through the fire».

As testimonies of that otherness that beats at the bottom of all reality, E xplorations at dawn intends to go beyond the signature and the authorship. The different moments of our research are infinitesimally intertwined, creating a rhizome of resonances.

To cross the interface. Multiplying the combinatorial possibilities, reaching the infinitesimal where every stiff capture falls apart, leaves a door open even among our modest and strange existences. To keep the heart open to listen to that which exceeds in reality, to the unfolding of a small domestic garden or the resonance between the interior gardens and the starry sky. In every exploration of reality there is more than what appears at first sight, because every reality is in excess with respect to itself.

"This is a film about faith and hope. About the language of heaven. About hunger and affection. Health and spirits. The living and the dead. About the palpable and the invisible. About strength in prayer, in the communal and in the stories - both tragic and joyful - that bind us together. This document thinks of faith as a territory of hope and not fiction. It is about the beauty and tenderness of the gesture of faith - the purest expression - in the faces of Colombian believers.

This documentary investigates and converses with testimonies of miracles in Colombia . It is a film exclusively about faces: cinema-confessional. Gestures from multiple religions, backgrounds and social classes recount their testimonies of faith. The stories reveal the deep spiritual connection to love, forgiveness, hunger, war, death, pain, motherhood, home. There is no miracle without conflict: each testimony reveals, within their spiritual experience, the realities of the country. The stories map Colombia in its contradictions: a territory that has failed in public health and housing; a country in its cracks of war and gender violence; a country of exile, of hunger, of survival.

In this search for testimonies I want to put all my concerns as an artist and as a believer. To film faith with faith . To go through the film questioning the positions and ethical distances -always so diffuse- of those who film documentaries. In this case, I would like to address the question that I have been asking in my previous works and that is, finally, the documentary filmmaker's job: how to film the other? Here the bet is to avoid prejudices and traps. To look for complicity and security with each testimony in the interviews. To discover, in each interview, the glimpses of each filmed face.

It is a documentary about faces and their stories and contrasts. But, mainly, it is a study on Colombian devotion: the priority to magic, hope for tomorrow, compassion, swindle, love. The questions that drive this documentary are: how to film faith, with what distance, with what questions, how to film the intimate, what do the miracles reveal about the territory? I seek to understand and contrast my gestures as a documentary filmmaker: during the search, during the interview, during the editing. To analyze the ethical politics of documentary filmmaking. I would like, out of gratitude to the testimonies, to be able to film and edit their testimonies of faith. For that is the implicit reason for the documentary and the only source of its beauty.

So far I have filmed 18 testimonies in the cities of Bogota, Cali and Sogamoso. The ambition of the project is to move the research in different regions, work with local people and film as many testimonies as possible, work on the editing and narrative of each one and make a choice of twenty testimonies for the final editing. The development of the documentary is also given to God in its development: it is chance that has put many of the testimonies in the film. Since the beginning of the production, I have found stories of miracles in conversations with cab drivers, with patients in the waiting room of a hospital, in bars and in spaces, supposedly, alien to the spiritual.  In Colombia, faith is palpable. In Colombia, heaven is alive.

My intention is, through these stories, to draw a map of spiritual beliefs in Colombia, to analyze the clinging to the most believing country in the world and, at the same time, to study the stories and the relationships between them. Each testimony is linked to the country in which they have lived: from paternity, from surviving the war, from illness, from hunger, from anguish, from disappointment. The documentary aims -like X-rays-, to detail what is underneath the believing society and the relations they have with the Colombian reality. In a country where public health, education and housing fail, faith supplants these shortcomings and prayer becomes hope. This is a documentary about spirituality but, mainly, about the understanding look and the believing look. A documentary where my compass and my purpose is to film with tenderness. The position of the camera that seeks serenity. To believe in the stories without prejudice. To look with purity: to find a miracle in each testimony. "

/ THOUSANDS OF LITTLE EYES /

/ SONG OF THE EARLY DAYS /

Static images are presented to the human visual system in a way that creates the illusion of movement.

Santa Mònica  series 2024.

"The concept of 'illusory movement', also known as 'apparent movement', refers to the perception of movement in a static image or in a sequence of images. This phenomenon occurs when static images are presented to the human visual system in a way that creates the illusion of movement."

"Illusion of Movement" is the thematic continuation of the last module of the Observatory in "Video Tuesday 2023", titled "Intimacy vs Media". It was originally developed during the early days of the Unidentified Video Observatory in the nineties. It collected various considerations about contradictions, inertia, continuities, and tensions of personal experience in the contemporary media flow.