PRESENTATION | Hello Steemit, I introduce myself!

I am venezuelan born in Caracas, a region where I have always lived, suffered and enjoyed. I have ventured, finally, to participate in this social network with all the desire to channel my talents, skills and interests little used in so many years of successes and work blunders. Euphoria and private revelations, waste and public uselessness. Within the framework of a Latin American-Caribbean society, subaltern, exploited by different types of extractivism (from "natural resources", from "human resources", from ecosystems, from vital energy). Colonized by the hegemonic centers of economy and knowledge due to its ─induced, self-induced─ chaotic and forgetful way of being culturally in the world. That it has ended up relegating our sensibilities and intellectual skills (and to us, its more or less assiduous practitioners) to a precarious condition of pariahs; of the deficient educational systems, of the economy, in the daily life, in the ethics and human quality of our social, affective and sex-gender relations.

I add this photograph on the recommendation of @miguelguacamaya2 (@miguelguacamaya) and @frida.kahlo to confirm my identity

Invited and guided by my dear friends @miguelguacamaya2 (@miguelguacamaya) and @hilandera, artists, cultural producers, and sensitive researchers, I have taken on this challenge of giving the best of myself to produce creative and analytical content from different areas. With the cultures ─in plural and diverse─, artistic expressions, human and social sciences as a heterodox center. Without neglecting the divulgative science and the cultural fields "high", popular and massive (whose analytical theory of these three I will present in a following publication); as well as its current process of deconstruction and hybridization in the becoming of the different layers of Millennial generations. Generations of which I feel part, subject of transition, subject of transformation, observer-interpreter subject and subject of study too.

Always transiting on the path of encounter towards our life purpose, those things that we really love to do, that we sometimes call vocation, and that we can perform for hours, losing the notion of time in a kind of metaphysical ecstasy. In my case: read, meditate, reflect, play, create artistic works, enjoy and analyze artistic works; play to arm and rearm the epistemic puzzle of their histories, describe cultural patterns and question power structures; systematizing lived or collective experiences and reviewing from critical thinking to the everyday social and political practices, have been a recurrent and precarious lifestyle. A way of living in this ephemeral transit through sentient life. Trades and hobbies with little possibility of economic sustainability, social acceptance, valuation as disciplines and indisciplines, transcendentalisms or transgressions, essentialisms or relativisms.

As a child I developed an irregular and chaotic passion for reading; as a teenager from the sleepless literary writing of dada-surrealist inspiration, Cursed Poetry and Rock-Metal or intelligent lyrical music. As a young adult my frustrated career as a musician ─who could never acquire an instrument in adolescence─, a fervent shower singer and a melómano (music lover), led me to cultivate the almost existentialist taste and passion for diversified and hybrid musical genres (Fusion Music). Cultural consumption, personal and shared, more critical, mostly associated with an attitude of identity and ideology. Genres and hybrids that for the first decade of the 21st century became known as the main expression of the youthful lifestyles of urban tribes, postmodern or neo-baroque (O. Calabrese) tribalisms, or neopaganisms (M. Maffesoli), of which I became a participant and activist, always from the underground.

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The pass through a degree in art history and museology, simultaneously with the informal artistic practice of modernist sculpture and Action Art (Performance Art). The labor and institutional practice of art curatorship and art criticism, the production of exhibitions of modern and contemporary art. The publication of texts and production of artistic events, as well as the promotion and cultural journalism led me to deepen and sincere aesthetic and political sensitivities, to systematize analysis strategies.

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Go build that theoretical "box of tools" of investigation and interpretation, of which worked as much from poststructuralism and quantitative-qualitative methodologies in social sciences and human sciences (G. Deleuze, M. Foucault, F. Guattari and others). Tactics and strategies of methodical discernment that start from taking responsibility, sincerely and riskily the context, historical moment and situated condition of our personal and ideological subjectivity, as well as its opacities and transparencies. But with an existentialist intensity, lived natural and voluntarily a vital, Dionysian way, from the body and the experience in la pista (the track, the way), el barrio (the neighborhood, the favela), the street.

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The experiences lived in the full participation ─in body and blood─, of cultural and youthful urban movements. Of Action Art (Performance Art) groups in institutions, streets and universities; collective promoters of cultural events against criminal violence in public spaces and poor sectors of Caracas and other cities; collectives of Underground Hip Hop and visual urban artists as graffiteros (graffiti writters), muralists and interventionists; research groups in youth sociology proposing public policy designs; anarchist and feminist autonomous militancy; associations of activist urban cyclists (means of transport and lifestyle) and urban tribes events of all types. Community work and social research, always facing el malandreo (the gangsterism) or police repression; of political activism for social causes ─without any partisanship or proselytism─, it allowed me to land these critical and aesthetic learned methodologies in concrete realities. Unravel, deconstruct and adapt them based on concrete practices in the field, human groups and the real life of the streets

Source: Facebook Accounts

On the path and sense of that revolutionary "right to laziness" of the marxist activist and thinker Paul Lafargue; that "philosophy of praxis" posed by the activist worker and marxist Italian philosopher Antonio Gramsci at the beginning of the twentieth century, who claimed that "every worker is an intellectual." Or in the sense of the teachings of our venezuelan Simón Rodríguez (AKA Samuel Robinson) visionary pedagogue and philosopher, who, with a century of anticipation, showed us the dangers of economic, productive, psychic and cultural colonialism as well as its possible transformation into an education liberating, resumed and practiced to death by the favela teacher and brazilian philosopher of education Paulo Freire. As well as in the field of contemporary visual arts, in the middle of that century, the german ecologist artist Joseph Beuys, reaching beyond the modern notion of "genius", proclaimed the Social Sculpture and declared that (paraphrasing another famous phrase of british writer, philosopher and anarchist educationalist of art Herbert Read, who in turn took it from others) "every person is an artist".

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From the modern origin in the eurocentric avant-garde rebellions of Expressionism, Futurism, Dada-Surrealism and its methods of cultural transgression to hegemonic art and politics. From Latin American avant-garde movements such as the Mexican Mural Movement, the brazilian New Objectivity, the visual and poetic informalism of the venezuelan collective Techo de la Ballena and the origins of Conceptualism. Contemporary artists, transgressors and deconstructors of avant-garde formalism of Modern Art, from the seventies, like brazilian Hélio Oiticica, colombian Antonio Caro, cuban Tania Brugera or venezuelans Claudio Perna and Juan Loyola. Or in recent decades: Javier Téllez, Juan Carlos Rodríguez and Argelia Bravo, with their notions, political practices and social criticism from the Social Art, understood not only as a theme or pamphlet but as strategies for the transformation of cultural and social reality.

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All these referents, among many others, have been decisive influences in this personal trajectory, which today, seeks to express itself in a large, international and more sustainable way, economically sustainable, through these words, the following posts, and through this community of Steemit.

Quoting my friend @miguelguacamaya2 (@miguelguacamaya), this fragment of his own first publication of presentation, that I subscribe totally and that could not have written better:

"[...] I think that this initiative is the beginning of a new revolution in the way that we Internet users manage our networks, it is now about the possibility that we perceive extra benefits for making uses of this type of platforms, in a kind of radical democratization of web 2.0, breaking the monopoly of other giants of social networks that only offer their users visibility in exchange for consuming incessant advertising forming part of huge databases for marketing companies."

Getting up myself, since 2015, of successive physical and psychological violences suffered personal and economic tragedies, macro and micropolitics, family and social, maniac and depressive. To rebuild myself again, constantly, resuming, unifying, modeling and enhancing all these abilities or skills that 34 years of life experiences, with a large part of them dedicated to the training and creation already mentioned, have come together here. To find and travel through these new spaces and times, now more digital, virtual, and interactive, for expression and sustainability.

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But, what will be my contribution to you that you read to me and to the community of Steemit ?, What I promise and what I commit from the beginning?

1. Make bilingual versions (spanish/english) of each publication to the best of my ability.
2. Begin with one (1) weekly text of analysis type with bibliographical sources or other documentary references. Which after a prudential time will increase to two (2) weekly and accept requests of topic to be developed.
3. Develop recurring publications in the form of sections: a) Critical analyzes, b) Reviews of music, artists, videogames, scientific theories, books and other cultural products, c) Poems and visual works of my own, d) Works by other authors that want to disseminate, e) Random or conjunctural thematic opinions, f) Results of contests in Steemit, among others that arise.
4. Constant exercise of the criterion, methodology, aesthetic enjoyment, empathy, solidarity, respect, Dignified Rage and Cheerful Rebellion.

If you got here I thank you very much and I hope that this story of vital trajectory and references ─more than a biography─ has pleased or inspired you, and that this offer of skills or services being stimulating to follow me, connect us and support us through Steemit.

Emancipation for our roads!

Health and joy

Namaste, Aho y Ashe