Though today, youth culture is passing from the epicenter of culture as a whole from it’s heyday in the 60s and 70s, it’s still interesting to look back on what happend. When Elvis Presley burst onto the scene in the mid-1950s – even today – it can seem shocking the amount of resistance and renunciation he actually met. This was true in Mexico too, where his music and films met and melded with often entirely different traditions, customs and social mores. 

In May 1959, the release of “King Creole,” met with one of the most noted early outcries in Elvis’s long career of interaction with Mexico and the Mexican public. Directed by Michael Curtiz, the movie was released under the title, “Melodia Siniestra” but became widely known by the peoples’ own translation of the title “El rey Criollo.“

The Mexico City premiere of the film took place at the Cine Las Americas at the intersection of Insurgentes and Chilpancingo avenues. To the same theater is called BlackBerry Auditorium, but on that day a large number of young people had already gathered, even hours before the screening was scheduled to begin. More than 600 of these “rebels” entered the theater without paying, and many began yelling, shouting insults and disturbing others, especially the young ladies present.

Fans wait outside the Mexico City premier of Elvis’s 1959 hit, “King Creole”

The screening of the film actually began amidst all of this disorder. Parmenides Garcia Saldaña related in his later book, “El rey criollo” (1970), that young people began throwing seats and running wildly from side to side as if the theater was on fire. Eventually the screen went black and the lights came on, but the mob didn’t stop demonstrating until police stormed the auditorium and threw everybody out.

Writers like Jose Agustin speculated that the rebellion of young people was a reaction to the rigidity and the social and political intolerance predominant at the time. The rocky premier was disrupted as a defiant act against the established order and a wakeup call demanding freedom of expression in an otherwise oppressive environment.

The Cine Las Americas unleashed a series of negative diatribes against youth in the press and the broader society. As in so many other cities, the new rock and roll music was described as “demonic” and as perverting youth and turning them away from the presumably preferable habits of Mexican families. The government even took the extraordinary act of encouraging the National Institute of Fine Arts to prepare a list of acceptable songs. This was distributed to all broadcasters in the country, and they were forbidden to play songs that were not on the list.

Fortunately the storm was short lived and parents were eventually convinced that the music was innocuous and even Elvis went in for a much more mellow take on Mexico. G.I.Blues, released in 1960 was a wide commercial success, despite being largely a conservative capitulation. And by the time Fun in Acapulco was released in 1963, teenage rebellion had entirely moved on to different and far more rebellious outlets.

ILUMINA is an interactive sculpture of light and sound fed by the collective energy of people’s hearts.

Art and technology are two faces of human creativity, two that are also closely related, despite the differences they apparently have with each other. What art does on many occasions has been achieved thanks to a specific technical development, a technology whose existence allows the artists to enhance or limit their creative work. Yes, it conditions it, but possibly also encourages it to transcend those limitations.

In this sense, the relationship between one and another human activities could be found in virtually any era, but it is certainly in recent times when technology has a presence, so persistent, somehow so inescapable, that art has been benefited for incorporating it. Both as a resource, an instrument, as part of the examination of contemporary reality, when many of our practices and interactions almost necessarily pass through a technological device.

Thus, somehow the ideal professed by Nietzsche on the need to transform life in a work of art, but this time through art and technology. Somehow the aesthetic sensibility, the discovery of the admirable or the frankly beautiful that any of us can perceive, finds a vehicle, a means of transmission and expression in how art can be magnified through technology.

Nowadays, it is becoming more and more complex to achieve high levels of consciousness, and to create a community without being outside of technology, but ww can use it as a tool to improve our sensitive abilities. To the same extent that we depend on technology to survive, it has become part of our lives, even in its most spiritual and even transcendental recesses. Art, now more than ever, demands to be a vehicle to explore different states that bring us closer to the dimensions of the infinite

Ilumina is an installation created by the artist Pablo Gonzalez Vargas, who through a deep exploration with the power of interconnectivity, proposes a method to improve the energy field of the planet. Pablo Gonzalez created a majestic interactive sculpture of light and sound that is activated by the emotional states of people, generating a beautiful light show and a sound landscape where the participants enter a state of coherence and deep harmony with themselves and with each other.

Ilumina is a metallic art monument, completed with aluminum and LED lights that together form an architectural piece full of harmony. The piece of art combines technology with a design of ancient wisdom. Ilumina has a program that responds to external stimuli, being able to shine more while more “coherent” is the group that hosts, generating a unique shared experience.

Ilumina is a chilling visual experience, and the volunteers who participate in the exercise of meditative immersion that lasts three minutes, are transported to a state of coherence and deep harmony with themselves, with their fellow participants and with the cosmos through a patented fusion of modern technology and transpersonal art.

The biometric sensors are connected to the ear lobes of each participant, which measures their unique state of coherence and averages them together. This is how lighting design and moving soundscapes respond to a unique algorithm, a product of HeartMath that uses biometric sensors for personal self-training in the regulation of emotional states where the sculpture becomes brighter to the extent that the users experiment with their emotions.

The team that created Ilumina included about 20 people from different disciplines and contributions. There was a large industrial design team that shaped the exact model that was taken to manufacturing. Marco Kalach worked with an expert manufacturing workshop, because as it is a public use facility in particular events, it had to comply with all the rules, structural regulations and with protection codes. The executive producer of the project was Gaby Vargas, who was responsible for the expertise at HeartMath, and joined by mexican musicians and audio engineers to make the experience of 360 degrees of immersive sound, led by Billy Mendez. The lighting team, directed by Paolo Montiel, coordinated all the programming and lighting design that makes symbiosis with the audio.

It was at Burning Man 2012, where Pablo Gonzalez Vargas created an art car called Mayan Warrior: a luminescence project and a spectacular audio show featuring pieces by the artist Alex Gray and musical performances by elite artists from Mexico and around the world.

In the penultimate edition of Burning Man, Pablo Gonzalez and his team decided to go a step beyond the great proposal that is Mayan Warrior, by presenting Ilumina, this piece of sacred geometry that radiates not only light but an algorithmic sacrality, it’s as mystical and hypnotic as an art piece can get. The tower of almost 12 meters high illuminated the Nevada desert at the Burning Man Festival 2017, and users managed to enter a mental state full of concentration characterized by a complete absorption, a wonderful moment of loss of the notion of spacetime.

It is expected that later there will be replicas of these sculptures, so that they can reach new locations around the world, and we can experience this amazing spectacle of light and the soundscape that connects us with the profound mysticism that exists in ourselves and that highlights the interconnectivity of our planet with the global energy fields.

Here are some photos of this beautiful project, in which lies the probability of a coherent and luminous future that would be worth living.

If you want to know more about this beautiful project or about the creative artist and allies that integrate it, visit their social media channels:

Ilumina Art Installation

Sitio web //  Facebook //  Instagram

Chilangos may cherish their reputation for never reading, but Mexico City libraries present a very contrary picture. 
 

Though the internet makes lots more information available to lots more people, Mexico City libraries have simply not been supplanted. Charged with continually re-inventing themselves, and their places in the public imagination, one can still encounter eras gone by and great historical minds in a library as in few other places.

Knowledge, after all, belongs to everyone. Opening a book, reading it at a study, or just meeting in the silence of one these Mexico City libraries enhances concentration, and provides a welcome respite from everything going on out there in the world. 

Of all Mexico City libraries, the oldest were part of the church and one or another of its offshoot organizations. Among these was the Colegio de Santa Cruz de Tlatelolco, founded in the 1530s and surviving today as the Biblioteca José María Lafragua. Most of these ecclesiastical libraries were not truly open to the public, and Mexico had to wait for the  National Library of Mexico, inaugurated by Benito Juárez in 1867 to enjoy the benefits of a truly public library system.

The list below is intended to let you enjoy some of that system, too. 

José Vasconcelos Library

Opened just ten years ago, in 2006, the Vasconcelos is visited by thousands for the sheer spectacle of its innovative design. Graced by the iconic whale from artist, Gabriel Orozco, it’s always a good library for art and visual spectacle. The facade retains something of a colonial appearance, but for sheer scale, and jaw-dropping space, the interior must be experienced.

Address: Eje 1 Norte Mosqueta S / N, Buenavista
Website 

UNAM Central Library 

We’ve written a lot about it in these pages, but the UNAM library with the Juan O’Gorman murals remains one of the most outstanding of all Mexico City libraries. As a UNESCO site with some 428,000 volumes in the collection, it’s the biggest in Mexico, but lots of folks visit just to see the facade and the surrounding grounds. 

Address: Circuito Interior S / N, Coyoacán, Ciudad Universitaria
Website

National Library of Mexico

Opened by Benito Juárez in 1867, there’s still a good one million books inside, today administered by the folks from UNAM. Originally located in the San Agustín church in the city center, the current building was opened in 1979. Geometric, and massive, it’s an extraordinary place to visit.

Address: Av. Universidad 3000, Coyocacan
Website

Miguel Lerdo de Tejada Library

Specializing in economic materials, this collection of some 86,350 books and 114,852 journals is administered by the Secretary of Finance and Public Credit. Founded in 1928, it’s one of the cities true public art spectacles. Inside the main nave of the old Oratory of San Felipe Neri “El Nuevo,” the baroque façade outside is just the beginning. Inside, the murals are futuristic, and not to be missed.

Address: Av. República de el Salvador 49, Centro Histórico, col. Centro Histórico

Library of Congress of the Union

One of Centro’s truly outstanding historical buildings, for centuries it was the convent of the Clarisas from the 16th century. Today it’s something like a “Library of Congress” with a stunning collection of publications and artifacts, but also with a lush, deep, dark intellectual interior, that beckons from centuries past. 

Address: Tacuba 29, Centro Histórico

Photographs this page: Flickr – Creative Commons