Y SIN EMBARGO magazine

Avatares de la vida. Ninots de UU, Miguel Ruibal, fernandoprats, Nirvana SQ, Leonie Polah, Brancolina, Thomas Hagström, Anna Christina, Thierry Tillier, Ezequiel Ruiz

Seven years of a periodical and independent publication is perhaps both necessary and long enough a time to verify or put into practice a set of ideas, wishes and adventures. YSE closes a cycle, but doesn’t close (neither literally nor metaforically). Seguiremos, pero seremos otros.

On air: YSE #29, LAST/s.

inter-visto: howard duncan, yse #15b

Auto-entrevista de Howard Duncan para Y SIN EMBARGO magazine #15, “inter-visto issue”:


1) Do you… play? What values has or do you give to the ludicrous in your life?
//¿Juega? ¿Qué valor le asigna o tiene en su vida lo lúdico?

2) Have you ever used your art to get sentimental or sexual advantages from someone? Tell us what and how it was? If positive, would you do it again?
// ¿Habéis utilizado alguna vez vuestro arte para beneficiaros sentimental o sexualmente de alguien? ¿El qué y cómo fue? En caso positivo, ¿lo volveríais a hacer?

3) Do you believe in (or do you subscribe to) an eschatology of transcendence?
// Crees en (o adhieres a) una escatología de la trascendencia?

4) What is the one thing that you never, ever admitted about yourself?
//Qué es lo que nunca, nunca has admitido acerca de tí mismo?

5) Until what extent the repetitive (in the arts) is “image and likeness” of the various cycles of nature? When is it hypnotic, “tribal” or simply stupefying?
//¿En qué medida lo repetitivo (en las artes) es “”imagen y semejanza” de los diversos ciclos de la naturaleza? ¿Cuándo es hipnótico, “tribal” o, simplemente, embrutecedor?

6) In responding to questions posed by fourteen anonymous people, and in turn posing one to them, what evidence do you anticipate–or are willing to accept–that this effort
has any concrete significance, beyond existing as a cyber-fiction, a delusion, and/or an ephemeral, “virtual” reality?
// En respuesta a las preguntas formuladas por catorce personas anónimas, y, a su vez, formulando una a ellos, ¿qué pruebas anticipas – o están dispuestos a aceptar – que este esfuerzo
tiene algún significado concreto, más allá de las actuales como un ciber-ficción, un engaño, y / o una efímera, realidad “virtual”?

7) How do you relate your creative activity
to your desire of being socially engaged
(in the critique of what exists and the creation of what could be)?
// ¿De qué manera se relaciona tu actividad creativa
a tu deseo de estar socialmente comprometido
(en la crítica de lo que existe y en la creación de lo que podría ser)?

8) Which are the five books that should be mandatory in any occidental High school?
//¿Cuáles son los cinco libros que deberían ser obligatorios en cualquier
colegio secundario de occidente?

9) The “repetition” determines the norm by which the genes
assure themselves the continuity of their stirps… while
the difference signs the rupture of the repetitive
tendency… and then, the mutation does erupt.
Could it be thought that the human being´s actual state
is showing a cultural mutation or are we succumbing in a
neurosis where we can get collapsed?
//La repeticion fija la normativa por la que los genes se siente seguros de continuar la estirpe…. mientras que la diferencia señala la ruptura de la tendencia repetitiva… y surge la mutación…
Se podría pensar que el estado actual del mundo humano señala una mutación cultural o estamos sucumbiendo a una neurosis donde podemos quedarnos colapsados?

10) What’s your pictosophy ?
// Cuál -o qué- es tu pictosofía?

11) What is it that does make sense to produce, in terms of culture, in this time?
// ¿Qué es lo que tiene sentido producir, en términos de cultura, en este tiempo?

12) Much has been written about our petrified/ accelerated
culture; a culture where all can be sweeped under the
banner of the aesthetic, and where we are all ‘ironic’
performers. As mimics, we consume ‘difference’; the
object as sign, but in this metonymic play of
substitutions, are we not effectively seeking a last
totemic impulse?
Deleuze dramatises a philosophy of difference- might we
not say that this too is totemic?
//Mucho se ha escrito acerca de nuestra petrificada / acelerada
cultura, una cultura en la que todo puede ser barrido bajo la
bandera de la estética, y donde todos somos intérpretes ‘irónicos’.
Como imitadores, consumimos “diferencia”, el objeto como signo,
pero en este juego metonímico de sustituciones,
no estamos efectivamente buscando un último impulso totémico?
Deleuze dramatiza una filosofía de la diferencia- no deberíamos decir
que esto también es totémico?

13) In which manner, if any, do ‘the possible’ and ‘the impossible’ interact with the ‘actual’
when seeing and image and thinking about it?
// De qué manera, si hay alguna, “lo posible” y “lo imposible” interactúan con lo “real”
al ver una imagen y pensar en ella?

14) What do you consider to be the defining event of your generation? If
you don’t believe there is one, what effect do you think this lack has
on the society in which you live?
// Cuál es el evento que, para ti, mejor define tu generación? Si no
encuentras ninguno, qué efecto tiene esta carencia para la sociedad en
la que vives?

15) NASA prepares a ship where they want to keep objects, works, or whatever, from different personalities
that have reached a degree of excellence. Suppose they have also chosen you… What do you give them?
// La NASA monta una nave en la que recopila objetos, obras, o lo que sea, de diversas personalidades de la especie humana
que han alcanzado el grado de excelencia. Pongamos que te han elegido a tí… ¿Que les darías?


(1) Life is ludicrous, and playfulness thus has great value.

(2) Art has value because in its “process” it epitomizes the mind in deliberate conscious action. As for the “product”, its interpretation obviously lies mainly within the hands of the observer. Creating “art” in order to evoke a specific response, or gain some particular advantage from an observer, is a fool’s game. In so many ways, “art” is not just what you can get away with.

(3) In the end, who is the “self” that can possibly transcend experience? Trust the Buddha’s answer.

(4) Consciousness cheats us by making us believe what is necessary in order to carry on. It tricks us into believing who we think we are. Thus, I admit to being something other than what I appear to myself and others.

(5) Repetition in the arts reflects personal ontology recapitulating human artistic phylogeny. Truly creative art (non-repetitive) only occurs when uniquely original (not derivative) and novel discoveries occur at the outer edges of this phylogenic evolution of humanity’s artistic travels, where an event of individual specific ontology meets with group phylogeny for the first time.

(6) Communication amongst humans may be completely and fundamentally insignificant, or the most significant thing that occurs within nature. Those aware of specific communications must draw their own conclusions, in the same way that individuals alone appreciate or reject the validity of works of art. Each mind must decide upon or assess truthfulness, significance and value.

(7) One look at Flickr is sufficient to reveal a vast mutual admiration society in action. Participants significantly rely upon this social engagement in order to obtain favourable comments. This creative photographic activity is mainly driven by egotism. But who would be satisfied creating art which remained invisible to others? And yet, since “process” is the essential defining characteristic of artistic activity, all artists should be content with being the sole observer of their finished products. However, our egotistical nature makes that extremely difficult – we succumb to vanity and seek the praise that social engagement makes possible. One of these days I may perhaps acquire the wisdom to rise above my egotistical self and simply enjoy the process of creating – I will vanish from Flickr.

(8) Even voracious individuals cannot read more than about 10,000 books in a lifetime. And yet our libraries contain millions of books. Live your own literary life and read in directions enjoyed by an interested and satisfied mind. And begin at an early age.

(9) Our changing human family obviously reflects the repetition of common characteristics. However, with equal clarity, differences likewise prevail. Every item and event possesses repetitious and different characteristics. The fabric of life is woven from both, and slowly things evolve (because of the temporary superiority of certain combinations of repetition and difference), and yet stay roughly the same. We are dynamic, impermanent and fundamentally neurotic beings due to this fluid and uncertain existence.

(10) This greatest mystery! Because of excited cells within my eyes and brain, images of colour and shape spring into the existence made possible by consciousness. Where do the images come from, and what are they, really? No philosophy or science can explain this. But the mysterious currency of consciousness (which includes sound, smell, touch, taste and temperature) is the stuff from which we create ourselves. We have origins no one understands.

(11) Using mind and body we endlessly produce. What we choose to produce is a reflection of personal and societal goals and inclinations. And a definition of “value” could be derived from the usefulness of what we generate, be it utilitarian or artistic. We create within constraints determined by our minds, talents and the nature of society.

(12) Yes, we blindly march along the road of difference and repetition, without recognizing that all is totemic, including our concept of self. Who knows how to escape? Perhaps only true poets and artists can answer this question.

(13) “Possible, “impossible” and “actual” are words that confuse the issue of “seeing”. The seeing of an image is the mind’s business. But the process has an objective element, assuming the object being imagined exists in the outer-world. The object may have an actual worldly shape, but its colour is created by the mind, and is otherwise impossible in the absence of brains. The word, “actual”, agrees with the concurrent existence of both external and mental realities.

(14) The defining event of my generation? Obviously, advances in science and technology, which have simultaneously expanded and limited our possibilities, in unique ways that civilization has never before encountered.

(15) I have nothing of substance to offer NASA. The things I leave behind as I move through life are mainly influences upon others with whom I have interacted. All becomes dust, but while humans continue to thrive, an individual’s fleeting impact imperceptibly modifies the mindset of humanity. Besides, who shall be so vain as to suggest they have created even some degree of excellence?