Jorge Sánchez

Technology has a funny way of being really slow. The same oppressions, perhaps exacerbated now, are embedded in code and coding and form part of a series of 100101’s. Since coding nowadays is whitewashing, I insert myself in images, texts, text messages, architectural spaces, our built environment, to interact and challenge these existing codes.

In conjunction with International Studio & Curatiorial Program ISCP's billboard offsite project 'Amigxs,' artist Camilo Godoy invited Ella Boureau, Susie Day, Michael Funk, Jorge Sánchez, Pamela Sneed, and Aldrin Valdez for a reading on November 28, 2017.  This is the audio for Jorge's A wired society will have to eat cables or Una sociedad llena de cables va tener que comérselos.

Una sociedad llena de cables va tener que comérselos
A wired society will have to eat cables

Figura 1 : an iPhone charge cable, broken and with wire exposed, pinched and gently rocked between a thumb and forefinger.
Figura 1

Figura 2 : Hardware housings, one white and with a sticker that reads "GAMER TV", on a dark hardwood floor, connected by numerous and tangled cables, most black and white, some red or blue, to two black monitors, seven silver hardware housings, and one smaller black housing, these all positioned on the rear edge of a simple wooden desk.
Figura 2

How’s that for a connection? How's that for being connected? How’s that for time and space and distance? What the fuck are we supposed to do with all these cables? Are fishes going to eat plastic or fiber optics? Can we eat them too when we go hungry when all of our food has been polluted and contaminated? Can bees pollinate fiber optic cables or wires?  

Figura 3 : Closeup of the terminal end of a white iPhone charge cable, split and with wire exposed, on a brown formica or granite surface, with a frowning yellow emoji superimposed in the upper right corner.
Figura 3

Figura 4 : From left, a wall or high desk, with hollow cavities, mostly obfuscated by by cables in black and white, some yellow. From the second of two evident cavities, two legs extend, visible from mid-thigh, in white khaki trousers, to the lower right corner of the image. Here the feet, with gray socks and black-laced, black patent leather shoes, reach a low-pile berber carpet in beige; the lower foot rests on its outer edge, the higher is planted flat. Several coils of coaxial cable lie on the carpet in the upper right corner.
Figura 4

It’s like being deliberately handed a gift of shit. Cables look so pretty for exactly 3 seconds before you touch them and before you put all your filthy hands on them or so they will have you believe.  Apple (are we going to have any of those in the future?) is stashing trillions of dollars of profit overseas, and is selling you white cables. And you buy them! Is it coincidence that all Apple cables are white? Something that is not white now is supposed to look uglier and disposable with usage. Cables turn darker and darker and break down. Is it a coincidence? Is it coincidence that when you rip open the chords, the cables, by accident by over usage, by boredom, you get burnt! You literally get ZAPPED! Wake up! But no, you continue plugging that phone in, you have to, you carefully put tape around it, you carefully find ways to tease the cable, you speak to it, you call it names, you baby talk it, you say, baby come on, you gotta work for me today, you gotta get that 5% charge and that connectivity.  You might receive a text, or you might need to see the weather, which in Spanish also means to see the time. There may be no new messages, but let’s refresh. 

Figura 5 : Left third of the image is occupied by the blank white side of some large plastic hardware casing or appliance, perhaps a printer or copy machine. Yellow, blue, and red cables hang over the top edge. The right two thirds of the image are occupied by a large black metal rack, divided into two vertical cavities, the left filled in the top half by hardware, and with a shelf extending outward in the middle holding a gray or white laptop, with screen brightly lit. The right cavity is filled from top to bottom with hardware casings. More cables in red, blue, and yellow, and here also purple, snake in and out of the cavities, in a significant tangle.
Figura 5

Figura 6 : Two walls of cavities or shelving filled with hardware, perhaps coming to a corner at the longitudinal division of the left two thirds of the image from the right; everything is obscured by a great tangle of yellow and blue cables, with a few red cables interspersed.
Figura 6

How does refreshing something become so fucking obsolete? You press the screen on your phone and with your index finger you refresh. You want to see what those you have not talked to in exactly seventy weeks have for comments, you crave to see their posts, like making your daily puritan rounds around your given Facebook guidelines.  You push down and refresh again, this time with a bit more curiosity, your blood pressure is rising a bit, you slide that index finger down again and refresh, there's a pause, maybe there's no signal, but you try again. Information begins to load, you can see more tweets, more likes, more photos, more texts, more information by pushing the screen again and scrolling your finger down the phone, refresh and you get new tweets, refresh and you found yourself on a photo album from 2013 of that same girl you now want to defriend, refresh and you missed a post you wanted to see earlier, refresh and you try to find it, refresh and you type the name of the person you're looking for, but first you have to refresh your recollection, first you have to ask your mind what was the name of the post you were looking for? What was it about? You google something like executive, digital poetics, NYC, and a last name. Algorithmic power gives you the most popular and paid for results brought to you by cognitive capitalism. Refresh and you see that your friend has more likes than you. Refresh one last time thinking you might be able to get a few more likes on that political comment that made you think you are politically active.  A couple more refreshes simply mean you have died a little.  The more you refresh the more you give something up.  Something has refreshed except ourselves.  We did not refresh. We left a little of us behind. 

Figura 7 : A white modem box, and three power strips, one gray and two white, occupy the left side of the image, on a dirty light brown carpet, white wooden moulding visible on the left edge. Several cables in white and black, two red, one yellow, and one blue patterned cloth-cased, run from these power strips and off to the right edge of the image, across something matte black and possibly plastic.
Figura 7

With networks time and space like to have conversations between themselves and without ourselves.  The physical representations of our networks are killing us. Time and space are the most boring individuals in the planet, let me tell you, time and space, they always want to play, but because you refreshed, you stayed with them, you didn’t see the phases of the moon, you missed the tides, you missed the tides and saying hello to the seal that came by to tell you, why am I here, it’s so fucking warm, was I supposed to go south?  It's warm everywhere now and there's no food says the seal. I came by to say goodbye because I’ll die says the seal. You are refreshed and I feel boiling water around me says the seal. 

Figura 8 : In the center of the image, a hallway running into a bright doorway in the background; the walls of the hallway completely dedicated to housing hardware in either cavities or on shelving; black elliptical coils of cable run from the celing down to a grid of crossbeams parallel and perpendicular to the tops of the walls or shelving units, and great tangles of multicolored cable cover most of the available vertical space, and spill out onto the floor, which looks recently waxed and shows significant glare from the light at the hallway's terminus, and perhaps from a skylight  or powerful fluorescent light in the upper right corner. Lines of blue paint or tape divide the floor in a grid, one running vertically the length of the hallway to where it disappears in the lighted doorway, others dividing the floor horizontally, perpendicular to and intersecting this line. It seems possible that the blue markings on the floor are to indicate the positions of the aforementioned crossbeams on the ceiling.
Figura 8

There’s no reason to remove any tears says the seal. Do you have any? When was the last time you cried? Smartphones and their cables have a way to get to them, clean them up, leave the salt behind. 

Figura 9 : A great tangle of cables, running from the foreground of the image into a white hardware casing, one perhaps mounted to very thin studs in what appears to be an exposed or unfinished recess in a wall. All framed at the top of the image by a blue panel covering the wall above the recess, and in the left quarter, by an oblique panel of finished hardwood, perhaps the edge of an audio speaker, or a chest or carrying case, with a silver metal and black plastic recessed handle visible two-thirds the way down.
Figura 9

I see you staring at the screen.  The image lasts for so long.  I begin to add different contextual spaces to you. I see you pooping holding the phone staring at the screen, you look back at me but only see a screen. I see you staring back at me now on a roller coaster staring at the screen. You’re staring at the screen, in a massive protest against police brutality, you’re now staring at the screen at a movie theater, with a lover, pooping again, eating, hands feel heavy, you look at me, your hands are a little burnt from the usage, they become two separate smartphones. Now you can wave goodbye with your two new smartphones but you will need an additional cable.   

Jorge Sánchez

Jorge Sánchez is a maricón, poet and attorney from Caguas, Puerto Rico. He lives in Newark, New Jersey and his writings have been recently published by Printed Web, a semi-annual publication dedicated to web-to-print discourse (the full collection was acquired by The Museum of Modern Art Library in January 2017).  Jorge's writings have also appeared at La Revista of El Instituto de Cultura Puertorriqueña, among others.

[photo] From left, Jorge Sánchez with Carlos Martiel, and Brendan Mahoney. Photo by Camilo Godoy.

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