Our memories are fragments of a living archive. We are constantly producing and reproducing texts. In fact, we are constituted by them. But we no longer feel the need to explain ourselves through the old narrative of that country we called Literature. Nor de we usually pay attention to the ocean of verbal and non-verbal sound that composes our experience of the world. Noise. Speech. Poetry freed from verse. Music liberated from melody. These are the forms of writing a type of reading that is only slightly slower than a visual one and equally consistent as a collective memory.

A source code is a combination of lines of text that allows a computer to execute a program. Sharing source codes is the basis of free software. The Audiotextual Source Code, like the Audiovisual Source Code, departs from the idea of applying this notion to culture to show that any cultural production is generated by different voices in relation to the context in which they are embedded. This format lets us re-think culture as an infinite palimpsest, art as a game between different people from different times, and remix as the cultural ecosystem in which this game takes place. The Audiotextual Source Code is a space for play and experimentation, a hybrid format between a conference and a listening session, and much more.

The material of the audio-text is the act of listening; there will scarcely be any images projected during this session. Instead, we will hear the sounds of the poetry, music or x that contributed to the artistic work of María Salgado and Fran MM Cabeza de Vaca and produced what now is, what would or could be. At the Infanta Elena Library, we will hear the sounds of Gertrude Stein, Johannes Kreidler, Tedd Berrigan, Alvin Lucier, Bob Wilson and Christopher Knowles, Steve Reich, Charles Bernstein, John Cage, Lydia Lunch, John Giorno, La Mala, Peter Ablinger or Feldman&Beckett.