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La poesía que empieza a publicarse en la Argentina en los 90 es analizada críticamente por distintos autores1, quienes coinciden en señalar como características salientes la relativización de la tradición, la degradación de la lengua y de los objetos mencionados, y la construcción de una «música que molesta» por políticamente incorrecta o por «salvaje». Durante esos años hubo una eclosión de lecturas y eventos poéticos, pero sólo Mario Ortiz intenta realizar otro tipo de lectura frente a la evidencia de que «esta misma profusión y variedad de recitales constituyen algo más que una simple extensión de la palabra escrita del poema2». Esto revela una falta de reconocimiento de esas formas híbridas, de la cual se hacen eco los mismos autores.
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The different neighborhoods of a city present each a complex of negative and positive traits that both influence and become influenced by marginal cultural activity. Specifically, graffiti, urban writing and drawing or the activity in public places of graffiti writers, street artists or cultural activists, social and political, contribute to constructing and defining the public image of any city area, underscoring or changing the traditional representation of these social spaces. The author discusses two cases in Madrid at the turn of the 20th century: those of the neighborhoods of Vallecas and Malasaña.
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Cardboard is hardly a material we associate with new media or digital technology in general. And yet in considering a series of recent editorial projects in several Latin American cities—editorial projects whose last name is always Cartonera and whose defining attribute is a trash aesthetic of hand-painted books made from recycled cardboard—it seems difficult to avoid confronting the present media ecology characterized by these technologies. These editorials produce, on some level, a kind of ‘‘new media,’’ although the mere novelty of their enterprise is only the most superficial of their affiliations with this concept. On the contrary, it seems clear to me that these projects also enact a form of production that should be interrogated within a discussion of the forms of sociality associated with new media and the politico-economic landscape they inhabit and condition.
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