“Cirilo Bautista’s ‘Telex Moon’ is a difficult read, yet I would describe my experience with it as something that through imagination, went beyond my interaction. I opted to read the assigned pages prior to researching Bautista’s background and what the Trilogy was about to remove any biases that would otherwise affect my translation for the zine.

I found ‘Telex Moon’ to be a piece that conveys messages directly from the protagonist’s stream of consciousness. Although I am aware that I will not be able to fully grasp the meaning of Bautista’s words the way he intended it to be understood, I developed a curiosity towards certain phrases and the way in which he used spacing, sequences, wordplay, and punctuations to carry out his thoughts.”

As a reaction to the assigned pages, I focused on that curiosity and concentrated on extracting the physicality of the texts rather than the interpretation of words. This allowed me to notice the silences expressed through punctuation marks.”

“I also noticed that these punctuations and Bautista’s ‘quatrain spillages’ contained thoughts in themselves and added to the composition. As an architect, I noticed spatial properties, those that reside beyond human comprehension.

In ‘Telex Moon,’ I saw an opportunity to use language as a tool to explore spatiality in a different context, to question the interconnectedness of thought, and the dualities that accompany each element.
I intended to communicate the essence of ‘Telex Moon’ through voids and absences, font weights, random placements and orientations, perforations, the use or the absence of color, and architectural translations of texts, in a way that would not only express Bautista’s work visually but encourage interaction with the viewers as they flip through and tear certain pages apart.”
“Through this zine, I intended for the readers to see the fluidity of language and to remind them that our experience with it does not end with the final transcript but continues to exist with our constant interaction with the conveyed messages.”
“My translation revolved around the idea of The House of Memory, a phrase often mentioned in pages 85-99 of ‘Telex Moon.
In Bautista’s attempts at redefining written text, I found that these were not chronological but rather in psychological sequence, much like how memory operates.”
There is a constant implication of nonlinearity in his work, which forms an opposition to how language, at least in my understanding of its written form, was initially intended to be seen. To create a translation for a work that neither expresses a beginning nor an end, eludes a beginning as an end itself and vice versa, I found difficult to express but also interesting to explore.
There were a handful of questions while I was producing this zine. What impacted me the most in my experience with Telex Moon? How do I extract the dualities of language and translate them visually in a work that would create a dialogue and encourage interaction with the reader? Why is it important to expose this? To be aware of it? These helped me contemplate the different ways of viewing language which resulted in an altered perspective; to use language as a medium to explore thoughts within thoughts.”
“As Tate puts it in their introduction to automatism, ‘to create art without conscious thought as a means of accessing material from the unconscious mind as part of the creative process. Being in isolation during the pandemic taught me to embrace silence amidst digital noises and to see the relevance of neutrality and transitional grounds in understanding the experience of what it is like to be human.

Isolation taught me to acknowledge my subconscious as much as the physical world and to recognize the codependence between both domains.

“I started with a printout of the literary piece, and with highlighter and pencil, drew on the punctuation marks and phrases which seemed interesting. This later became a thread and needle to indicate nonlinearity between words and symbols as well as clay models that would attempt to better understand this experience.

I also used 3d modeling and a vector-based graphic software to express these ideas in digital format. Perhaps through immersing with this zine, one would be brought to a liminal space of language devoid of boundaries and biases by focusing on what is simultaneously familiar and unfamiliar.”